"black-and pearl necklace and highly-fashionable patterned dress; all of which are highlighted against a flat black background. It is similar in pose and colour tone to his c 1507 ""A German Woman from Venice"", while at least two studies of Venetian women are known, both of which are very daring. One shows the model with a plunging neckline, the other with bare shoulders. During his visit to Italy Dürer became fascinated by and befriended Giovanni Bellini, an established master when Dürer was still a relative unknown outside of Germany. The Franconian artist's influence can be seen in this work's soft"
"be painted black, and they are customarily so painted now. It is estimated that there were eight to ten thousand gondolas during the 17th and 18th century. There are just over four hundred in active service today, virtually all of them used for hire by tourists. Those few that are in private ownership are either hired out to Venetians for weddings or used for racing. Even though the gondola, by now, has become a widely publicized icon of Venice, in the times of the Republic of Venice it was by far not the only means of transportation; on the map"
"a sea serpent on its tip. The gondola was restored by Gianfranco “Crea” Vianello, a Venetian gondola builder from the island of Giudecca, who has supported Hai in his pursuit to become a gondolier and mentored him in fine-tuning his rowing technique. Hai chose the Venetian language verse as the theme for his gondola: ""E la luna nassara’ per sognar un altro di’"" (And the moon will be born to dream of another day). In October 2006, the city of Venice enacted a law that forbade the circulation of gondoliers without public licence. The ordinance was considered by the local"
"many photographs attest, gondolas were often fitted with a ""felze"", a small cabin, to protect the passengers from the weather or from onlookers. Its windows could be closed with louvered shutters—the original ""Venetian blinds"". After the elimination of the traditional felze—possibly in response to tourists' complaining that it blocked the view—there survived for some decades a kind of vestigial summer awning, known as the ""tendalin"" (these can be seen on gondolas as late as the mid-1950s, in the film ""Summertime"" (1955)). While in previous centuries gondolas could be many different colors, a sumptuary law of Venice required that gondolas should"
"years there were seven such boats but by 2017, only three remained. There are approximately 400 licensed gondoliers in Venice in their distinctive regalia and a similar number of the boats, down from 10,000 that travelled the canals two centuries ago. Many gondolas are lushly appointed with crushed velvet seats and Persian rugs. Less well-known is the smaller sandolo. At the front of each gondola that works in the city, there is a large piece of metal called the ""fèro"" (iron). Its shape has evolved through the centuries, as documented in many well-known paintings. Its form, topped by a likeness"
"and domestic maintenance; be provided a barrel of wine; and be fed in the refectory. Aesthetically, the Benedictine contract stipulated that the painter represent “the history of the banquet of Christ’s miracle at Cana, in Galilee, creating the number of [human] figures that can be fully accommodated.” That Veronese use ""optimi colori"" (optimum colours) — specifically, the colour ultramarine, a deep-blue pigment made from lapis lazuli, a semi-precious, metamorphic rock. Assisted by his brother, Benedetto Caliari, Veronese delivered the completed painting in September 1563, in time for the ""Festa della Madonna della Salute"", in November. In the 17th century, during"
"that of the Habsburgs, historical enemies of the then ruling Italian house and considered inappropriate. Given the need to adopt a definitive color the founders opted in the end for granata, a dark red, similar to burgundy. The most accepted story is that it was adopted in honour of the Duke of the Abruzzi and the House of Savoy, which, after the victorious liberation of Turin from the French in 1706, adopted a blood-colored handkerchief in honour of a messenger killed bringing the news of victory. Other reconstructions, considered less reliable, speak of a tribute to the founder Alfredo Dick,"
"from Venice, where it was made from kermes by a specific guild which closely guarded the formula. Cloth dyed scarlet cost as much as ten times more cloth dyed with blue. In the ""Assumption"", by Titian (1516-1518), the figures of God, the Virgin Mary and two apostles are highlighted by their scarlet costumes, painted with vermilion pigment from Venice. The young Queen Elizabeth I (here in about 1563) liked to wear bright reds, before she adopted the more sober image of the Virgin Queen. Her satin gown was probably dyed with kermes. In the 16th century, an even more vivid"
"the tight spaces of Venetian canals. Gondoliers dress in a blue or red striped top, red neckerchief, wide-brimmed straw hat and dark pants. A gondolier can earn the equivalent of up to US$150,000 per year. In August 2010, Giorgia Boscolo became Venice's first fully licensed female gondolier. Alex Hai had begun work in gondolas earlier than Boscolo, in 2007, as Alexandra, but not with a full license because of failures to pass various tests. In June 2017, Hai came out as transgender and said that he had been working ""in the body of a woman"". Hai is the first openly"
"core of the piece has much more to do with British society than with Venice. Gondola The gondola (, ; ) is a traditional, flat-bottomed Venetian rowing boat, well suited to the conditions of the Venetian lagoon. It is similar to a canoe, except it is narrower. It is propelled by a gondolier, who uses a rowing oar, which is not fastened to the hull, in a sculling manner and acts as the rudder. For centuries, the gondola was a major means of transportation and the most common watercraft within Venice. In modern times, the boats still do have a"
"of Venice created by Jacopo de' Barbari in 1500, only a fraction of the boats are gondolas, the majority of boats are batellas, caorlinas, galleys, and other boats. Now, only a handful of batellas survive, and caorlinas are used for racing only. The historical gondola was quite different from its modern evolution; the paintings of Canaletto and others show a much lower prow, a higher ""ferro"", and usually two rowers. The banana-shaped modern gondola was developed only in the 19th century by the boat-builder Tramontin, whose heirs still run the Tramontin boatyard. The construction of the gondola continued to evolve"
"the revolution begun in Bologna to oust the foreign occupying forces. This tricolore was considered a symbol of redemption that from its creation was ""consecrated to immortality of the triumph of faith, virtue, and sacrifice"" of those who created it. Napoleon Bonaparte, in a letter from Milan to an executive director on 11 October 1796, stated that the Legione Lombarda had chosen these colours as the national colours. In a solemn ceremony at the Piazza del Duomo on 16 November 1796, a military flag was presented to the Legione Lombarda, which would become a unit in the Cisalpine Republic (1797–1802)"
"until the mid-20th century, when the city government prohibited any further modifications. In the 1500s an estimated 10,000 gondolas of all types were in Venice; in 1878 an estimated 4000 and now approximately 400. The origin of the word ""gondola"" has never been satisfactorily established, despite many theories. Today's gondola is 35.5 feet long and 4.5 feet wide with a weight of 1,500 lbs (700 kg). They are made of 280 hand-made pieces using eight types of wood (lime, oak, mahogany, walnut, cherry, fir, larch and elm). The process takes about two months; in 2013, the cost of a gondola"
"The six fingers or phalanges of the ""ferro"" on the bow of a gondola represent the six ""sestieri"". The ""sestieri"" are divided into parishes – initially 70 in 1033, but reduced under Napoleon and now numbering just 38. These parishes predate the ""sestieri"", which were created in about 1170. Each parish exhibited unique characteristics but also belonged to an integrated network. The community chose its own patron saint, staged its own festivals, congregated around its own market center, constructed its own bell towers and developed its own customs. Other islands of the Venetian Lagoon do not form part of any"
"prorà"" or ""dolfin"", is needed to balance the weight of the gondolier at the stern and has an ""Ƨ"" shape symbolic of the twists in the Canal Grande. Under the main blade there is a kind of comb with six teeth or prongs (""rebbi"") pointing forward standing for the six districts or ""sestieri"" of Venice. A kind of tooth juts out backwards toward the centre of the gondola symbolises the island of Giudecca. The curved top signifies the Doge's cap. The semi-circular break between the curved top and the six teeth is said to represent the Rialto Bridge. Sometimes three"
"but modified them to distinguish themselves from the French. The chosen colours were white and red since those are the colours of the flag of Bologna, some scholars contend green was added only for the event to give it a more ideological effect; not all agree that the cockades used by the Bologna plotters actually had three colours, since a myth about that may have been created a year later. On 18 May 1796 a cockade with those colours commemorating the Bologna riots was reportedly presented to Napoleon Bonaparte in Milan, who decided banners with same colours would be carried"
"a room decoration that I have ever painted"". Its original title was ""Venus Veneta"" (""Venetian Venus""), making it a response to Renaissance and classical archetypes, particular those by Titian and other 16th century painters – in a letter dated 27 September 1866, Rossetti stated his aim in painting it was to produce ""a Venetian lady in a rich dress of white and gold – in short the Venetian ideal of female beauty"". After its completion he renamed it ""Monna Vanna"" (""vain woman"") to underline the vanity of life or more likely to emphasize the subject's Italian origins. The new title"
"the Virgin Mary. During the Postclassical history, painters rarely ever mixed colors; but in the Renaissance, the influential humanist and scholar Leon Battista Alberti encouraged artists to add white to their colors to make them lighter, brighter, and to add ""hilaritas"", or gaiety. Many painters followed his advice, and the palette of the Renaissance was considerably brighter. Until the 16th century, white was commonly worn by widows as a color of mourning. The widows of the kings of France wore white until Anne of Brittany in the 16th century. A white tunic was also worn by many knights, along with"
"red with lime white, in proportions of two to one, to paint the skin tones of faces, hands and nudes. The first recorded use of ""Venetian red"" as a color name in English was in 1753. Venetian red was the defining colour used by the British Army since the end of the English Civil War until its replacement with khaki, in the 1890s, mainly noted as being the primary colour of a Redcoat's dress, during the 18th and 19th centuries. Venetian red Venetian red is a light and warm (somewhat unsaturated) pigment that is a darker shade of scarlet, derived"
"with ""ruby hues"", and ivory or cream instead of white. Alfonso Pecoraro Scanio, president of the Federation of the Greens and a member of the Chamber of Deputies, stated that Silvio Berlusconi had achieved a ""chromatic coup d'état"". Government officials stated that the sample flags did not conform to the ""specified chromatic specification"". The values were revised after discussion, and in 2006 were decreed by law in Article 31 of ""Disposizioni generali in materia di cerimoniale e di precedenza tra le cariche pubbliche"" (""General provisions relating to ceremonial materials and precedence for public office"", published 28 July 2006 in Gazzetta"
"friezes can be seen in-between the six prongs, indicating the three main islands of the city: Murano, Burano and Torcello. The gondola is also one of the vessels typically used in both ceremonial and competitive regattas, rowing races held amongst gondoliers using the technique of Voga alla Veneta. During their heyday as a means of public transports, teams of four men would share ownership of a gondola — three oarsmen (""gondoliers"") and a fourth person, primarily shore based and responsible for the booking and administration of the gondola (""Il Rosso Riserva""). However, as the gondolas became more of a tourist"
"nickname ""arancioneroverdi"" (""orange-black-greens""). Venezia's colours and kit are very distinctive; the shirt, shorts and socks are usually black with the shirt having a green and orange trim. The symbol of the Venetian club is a winged-lion (see Lion of Venice), commonly mistaken for a griffin. The golden winged-lion is the official symbol carries by the city of province of Venice; the symbol has led to one of the club's most popular nicknames in the form of ""leoni alati"" (""winged-lions""). As the club has been renamed numerous times during its history, the badge has also changed several times; the most common"
"which the County of Barcelona would have followed shortly after according to this version. The colours for the city of Rome, which in those times was controlled by the Pope, were the same. According to the ""Encyclopædia Britannica"", the flag of the Holy See's Navy from the 12th century on consisted of two vertical red and yellow bands, sometimes bearing the tiara and the keys. According to the Vatican official website, the yellow and red of the flag of the Holy See were two colors traditional of the Roman Senate and People. This ancient flag can still seen on the"
"5 August, sent from the Interior Ministry to regional police chiefs included the instruction: ""Three hundred camps or illegal settlements must be cleared within three months, Roma camps are a priority."" Many depictions of Romani people in literature and art present romanticized narratives of mystical powers of fortune telling or irascible or passionate temper paired with an indomitable love of freedom and a habit of criminality. Romani were a popular subject in Venetian painting from the time of Giorgione at the start of the 16th century; the inclusion of such a figure adds an exotic oriental flavour to scenes. A"
"water perfume, and tossed by young men at their friends or at young women they admired. However, in some cases, the eggs were filled with ink or other damaging substances. Gambling in public was normally illegal, except during Carnival. The document decrees that masked persons were forbidden to gamble. Another law in 1339 forbade Venetians from wearing vulgar disguises and visiting convents while masked. The law also prohibited painting one's face, or wearing false beards or wigs. Near the end of the Republic, the wearing of the masks in daily life was severely restricted. By the 18th century, it was"
"Marseille. Venice was the major depot importing and manufacturing pigments for artists and dyers from the end of the 15th century; the catalog of a Venetian ""Vendecolori"", or pigment seller, from 1534 included vermilion and kermes. There were guilds of dyers who specialized in red in Venice and other large Europeans cities. The Rubia plant was used to make the most common dye; it produced an orange-red or brick red color used to dye the clothes of merchants and artisans. For the wealthy, the dye used was kermes, made from a tiny scale insect which fed on the branches and"
"Venetian red Venetian red is a light and warm (somewhat unsaturated) pigment that is a darker shade of scarlet, derived from nearly pure ferric oxide (FeO) of the hematite type. Modern versions are frequently made with synthetic red iron oxide. Historically, Venetian red was a red earth color often used in Italian Renaissance paintings. It was also called sinopia, because the best-quality pigment came from the port of Sinop in northern Turkey. It was the major ingredient in the pigment called ', described by the 15th-century Italian painter and writer in his handbook on painting, '. Cennini recommended mixing Venetian"
"but the sky was hidden in the 16th century by two gold stripes. Infrared examination during the restoration also revealed the panel's preparation with glue and plaster and the chiaroscuro underdrawing, both typical of Bellini and both also mentioned in Paolo Pino's 1548 ""Dialogo di pittura"". When the French invaded Venice in the late 18th century the painting was in the offices of the Regulatori di Scrittura in the Doge's Palace. It was confiscated and in 1808 assigned to the new Pinacoteca di Brera in Milan, where it now hangs. Greek Madonna The Greek Madonna is a 1460-1470 tempera on"
"Gondola The gondola (, ; ) is a traditional, flat-bottomed Venetian rowing boat, well suited to the conditions of the Venetian lagoon. It is similar to a canoe, except it is narrower. It is propelled by a gondolier, who uses a rowing oar, which is not fastened to the hull, in a sculling manner and acts as the rudder. For centuries, the gondola was a major means of transportation and the most common watercraft within Venice. In modern times, the boats still do have a role in public transport in the city, serving as ""traghetti"" (small ferries) over the Grand"
"by the Milan Civic Guard, of the Lombard Legion and the National Guard. The first official ""tricolore italiano"", or Italian tricolour, was adopted on 7 January 1797, when the XIVth Parliament of the Cispadane Republic, on the proposal of deputy Giuseppe Compagnoni of Lugo, decreed ""to make universal the ... standard or flag of three colours, green, white, and red ..."" This was probably because the ""Legione Lombarda"" had carried banners of red, white (from the flag of Milan), and green (from the uniform of the civic guard), and the same colours were later adopted in the banners of the"
"lifted by a heavy-lift floating crane onto a barge that was put alongside the ship. The ""Cristoforo Colombo"" and the ""Leonardo da Vinci"" were kept as the flagships and the prime Italian ships on the North Atlantic until 1965, when the new and were placed into service. She was painted entirely white in 1966 in order to match with the other ships in the Italian Line, who had abandoned black as a hull color. The ""Cristoforo Colombo"" is prominently featured in the 1962 Warner Brothers film ""Rome Adventure"" starring Suzanne Pleshette, Troy Donahue and Rossano Brazzi. The opening titles of"
"the drum and through the lantern. Brunelleschi had proposed the vault to glimmer with resplendent gold, but his death in 1446 put an end to this project, and the walls of the dome were whitewashed. Grand Duke Cosimo I de' Medici decided to have the dome painted with a representation of ""The Last Judgment"". This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579. The upper portion, near the lantern, representing ""The 24 Elders of Apoc. 4"" was finished by Vasari before his death"
"oil painting of ""Marie Antoinette as Patron of the Arts"" and a copy of artist Holbein's ""Anne of Cleves"". The auditorium was designed to represent a 16th-century Italian baroque garden, bathed in Mediterranean moonlight, with stars twinkling in the ceiling as clouds passed by. Hanging vines, cypress trees, stuffed birds and classical statues and busts lined the walls. The safety curtain was painted with a gated Venetian garden scene, which continued the garden effect around the auditorium when it was lowered. Along the Grand Concourse, local ordinance forbids the use of large vertical signs. This restrained the design of the"