Venezia 4 Details of a sunny day

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The Chiesa di San Moisè (or San Moisè Profeta) is
a Baroque style, Roman Catholic church built
initially in the 8th century. The elaborate
Baroque facade, dating from 1668, is profusely
decorated with sculpture
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Calle Larga XXII Marzo leading to Chiesa di San
Moise
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Calle Larga XXII Marzo leading to Chiesa di San
Moise
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Calle Larga XXII Marzo is the preferred street by
lovers for luxury shopping, as it boasts the most
important boutiques of Venice
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Hotel Flora a 17th Century palazzo that was once
a School of Painting
Calle Larga XXII Marzo
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Hotel Flora Calle Larga XXII Marzo
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Monument to Vincenzo Fini
Girolamo Fini's Cenotaph
Vincenzo Fini's Cenotaph
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Water dock in Rio di San Moise, a small canal off
Venice's Grand Canal, frequented by gondoliers
throughout the summer
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Rio San Moisè
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Rio San Moisè, Campiello Barozzi
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Rio San Moisè, Campiello Barozzi
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Chiesa di Santa Maria del Giglio The church,
whose name translates into St. Mary of the
Lily (referring to the flower classically
depicted as being presented by the Angel Gabriel
during the Annunciation), is more commonly known
as Santa Maria Zobenigo after the Jubanico family
who founded it in the 9th century. The edifice is
situated on the Campo Santa Maria Zobenigo, west
of the Piazza San Marco. It was rebuilt between
1678 and 1681 and has one of the finest Venetian
Baroque facades in all of Venice
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The top of the church is Venice crowned, between
Justice and Temperance
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In 1689 the Venetian Admiral Antonio Barbaro died
leaving detailed written instruction and the sum
of 30,000 Ducats for work on the façade of the
church of Santa Maria del Giglio (also known as
Santa Maria Zobenigo) in the Campo Santa Maria
Zobenigo, west of the Piazza San Marco. This
remarkable baroque construction was erected with
the sole aim of glorifying the Barbaro family,
much to the disgust of pious Venetians who noted
that there was not a single item of religious
imagery anywhere on the façade. A detailed
drawing by the architect Giuseppe Sardi was
attached to the will making it clear that the
entire decorative scheme was approved of if not
actually designed by the admiral himself
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A huge statue of a Barbaro in armour, with a
fantastic head-dress, over the central door
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Carolus Barbaro
Francesco Barbaro
Marinus Barbaro
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Jo.Maria Barbaro
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Madonna col bambino e S. Giovannino di Rubens a
S. Maria del Giglio
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Rio De Santa Maria Zobenigo
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Rio De Santa Maria Zobenigo
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Rio De Santa Maria Zobenigo
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Ornate window Sotoportego Foscara Giuseppe
Zanotti Design Shop San Marco District
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Window Pane with Habig Wien sign -imperial
Viennese hat manufactor in Venice
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Santa Maria dei Miracoli, also known as
the Marble Church, is located in the Sestiere of
Cannaregio, in Venice. The church is one of the
best examples of the Venetian Renaissance
including colored marble, a false colonnade on
the exterior walls, and a semicircular
pediment. Photography inside the church is
strictly forbidden
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Santa Maria dei Miracoli
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Santa Maria dei Miracoli
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Pietro Lombardo has built her in 15th century and
has carefully selected the marble for the
exterior, so that in a whole it looks more like
having been painted than being made of stone.
Verde antico, a green-toned stone, and red 
Egyptian porphyry. The church is the most popular
venue for venetian wedding and often filled with
flowers
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The facade of Santa Maria dei Miracoli with its
polychrome marbles, medallions, panels of
porphyry and green marble is considered a little
jewel
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Arsenale di Venezia the gateway to the great
Venice Arsenal, surrounded by crenellated walls
of the twelfth century
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Venice Arsenal façade, Construction of the
Arsenal began around 1104, during
Venice's republican era
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The Venetian Arsenal is a complex of former
shipyards and armories clustered together, Owned
by the state, the Arsenal was responsible for the
bulk of the Venetian republic's naval power
during the middle part of the second millennium
AD. It was "one of the earliest large-scale
industrial enterprises in history
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By the early sixteenth century, when the yard was
at its busiest, it is believed that about 16,000
employees - known as arsenalotti - worked on the
Arsenale's production lines, and the facility was
long at the center of the Venetian economy. The
efficient production techniques made it possible
for the arsenalotti to build a galley in less
than 24 hours! 
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The most stunning architectural feature of the
Arsenale is the Porta Magna - or main gate -
which was added to the facility in 1460. This was
the first Classical Revival structure to be built
in the city of Venice and set the tone for many
other buildings. 
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The Piraeus Lion is one of four lion statues on
display at the Venetian Arsenal, where it was
displayed as a symbol of Venice's patron
saint, Saint Mark
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The lion was originally sculpted in about 360
BCE, and became a famous landmark in Piraeus,
having stood there since the 1st or 2nd century
AD. It is made of white marble and stands some
3 m high
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It was originally located in Piraeus, the harbour
of Athens. It was looted by Venetian naval
commander Francesco Morosini in 1687 as plunder
taken in the Great Turkish War against the
Ottoman Empire, during which the Venetians
besieged Athens and Morosini's cannons caused
damage to the Parthenon only matched by his
subsequent looting
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The gate is adorned with eight allegorical
statues wich represent Wealth, Guard, goddess
Bellona, Neptune, Mars and Justice the last two
statues have not been recognized
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The Piraeus Lion
The clock tower at the Porta Magna
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The winged lion of Venice Today, the arsenale
is mostly used by the Italian army and is not
accessible to the public except for some parts
that open up for exhibitions during the Biennale
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Heart of Venezia
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Pictures Sanda Foisoreanu
Gabriela Cristescu Internet All 
copyrights  belong to their  respective owners
Presentation Sanda Foisoreanu
2015
Sound Il Divo - Dentro Un Altro Si
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