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FASHION COURSES ITALY - COURSES ITALY


Fashion courses italy - Tim gunn fashion tips - New fashion 2011.



Fashion Courses Italy





fashion courses italy






    fashion
  • Make into a particular or the required form

  • Use materials to make into

  • characteristic or habitual practice

  • make out of components (often in an improvising manner); "She fashioned a tent out of a sheet and a few sticks"

  • manner: how something is done or how it happens; "her dignified manner"; "his rapid manner of talking"; "their nomadic mode of existence"; "in the characteristic New York style"; "a lonely way of life"; "in an abrasive fashion"





    courses
  • A procedure adopted to deal with a situation

  • The route or direction followed by a ship, aircraft, road, or river

  • (course) education imparted in a series of lessons or meetings; "he took a course in basket weaving"; "flirting is not unknown in college classes"

  • (course) naturally: as might be expected; "naturally, the lawyer sent us a huge bill"

  • The way in which something progresses or develops

  • (course) move swiftly through or over; "ships coursing the Atlantic"





    italy
  • A country in southern Europe; pop. 58,057,000; capital, Rome; official language, Italian. Italian name Italia

  • a republic in southern Europe on the Italian Peninsula; was the core of the Roman Republic and the Roman Empire between the 4th century BC and the 5th century AD

  • (italian) of or pertaining to or characteristic of Italy or its people or culture or language; "Italian cooking"

  • (italian) the Romance language spoken in Italy











Agrigento-Temples Valley #18




Agrigento-Temples Valley #18





Agrigento,Sicily (Italy)

Stretched out along a ridge, inappropriately referred to as “valley”, and nestling in the area to the south of it, are a series of temples which were all erected in the course of a century (5C BC), as if to testify to the prosperity of the city at that time. Having been set ablaze by the Carthaginians in 406 BC, the buildings were restored by the Romans (1C BC) respecting their original Doric style. Their subsequent state of disrepair has been put down either to seismic activity or the destructive fury of the Christians backed by an edict of the Emperor of the Eastern Empire, Theodosius (4C). The only one to survive intact is the Temple of Concord which, in the 6C, was converted into a Christian church. During the Middle Ages, masonry was removed to help construct other buildings, in particular, the Temple of Zeus, known locally as the Giant’s Quarry, provided material for the church of San Nicola and the 18C part of the jetty at Porto Empedocle.

All the buildings face east, respecting the Classical criterion (both Greek and Roman) that the entrance to the cella (Holy of Holies) where the statue of the god was housed could be illuminated by the rays of the rising sun, the source and blood of life.

On the whole, the temples are Doric and conform to the hexastyle format (that is with six columns at the front), the exception being the Temple of Zeus, which had seven engaged columns articulating the wall that encloses the building. Built of limestone tufa, the temples provide a particularly impressive sight at dawn, and even more so at sunset when they are turned a warm shade of gold.

(The Greek form of the names of the divinities has been used to describe the temples, with the Latin equivalents given in brackets). It is advisable to start a visit with the archeological site around the Temple of Zeus, as this is open at restricted times.

Sacrificial altar – Just beyond the entrance, on the right, slightly set back, are the remains of an enormous altar, used for large-scale sacrifices. As many as 100 oxen could be sacrificed at one time.

Tempio di Zeus Olimpico (Giove) – Having been razed to the ground, the Temple of Zeus (Jupiter) was re-erected following the victory of the people of Agrigentum (allied with the Syracusans) over the Carthaginians at Himera (in about 480 BC) as a gesture of thanks to Zeus, it was one of the largest temples built in ancient times, being 113m long by 36m wide, and is thought never to have been completed. The entablature was supported by half-columns 20m high, which probably alternated with giant male caryatids (atlantes or telamons), one of which can be seen in the local archeological museum (see below). A reproduction of an atlantes is displayed in the middle of the temple, giving some idea of scale proportional to the vast building. Instead of the more usual open colonnade, this temple is surrounded by a continuous screen wall sealing off the spaces between the columns which, inside, become square pilasters. Some blocks still bear the marks made for lifting them into place: these are deep U-shaped incisions through which a rape was threaded and then, attached to a kind of crane, could be used to lift or haul the blocks one upon another.

Tempio di Castore e Polluce o dei Dioscuri – The Temple of Castor and Pollux or of the Dioscuri is the veritable symbol of Agrigento. Built during the last decades of the 5C BC, it is dedicated to the twins born from the union of Leda and Zeus while transformed into a swan. Four columns and part of the entablature are all that remain of the temple, which was reconstructed in the 19C. Under one edge of the cornice is a rosette, one of the typical decorative motifs used. On the right are the remains of what was probably a sanctuary dedicated to the Chthonic Deities (the gods of the underworld): Persephone (Proserpina), queen of the underworld, and her mother, Demeter (Ceres), the goddess of corn and fertility and patroness of agriculture. On the site are a square altar, probably used for sacrificing piglets, and another round one with a sacred well in the centre. This is probably where the rite of the Thesmophoria, a festival held in honour of Demeter, was celebrated by married women.

In the distance, last on the imaginary line linking all the temples of the valley, is the Temple of Hephaistus (Vulcan), of which little remains. According to legend, the god of fire and the arts had a forge under Etna where he fashioned thunderbolts for Zeus, assisted by the Cyclops.

Retrace your steps, leave the fenced area and follow Via dei Templi, on the other side of the road, on the right.

Tempio di Eracle (Ercole) – Conforming to the Archaic Doric style, the Temple of Heracles (Hercules) is the earliest of the group. The remains enable us to imagine how elegant this temple must have been. Today, a line of eight tapering columns stands erect, re-erected during the first half of this century. From the temple, looking south, ca











The Grand Canal in Venice




The Grand Canal in Venice





Taken from a bridge in Venice overlooking the Grand Canal.
The Grand Canal (Italian: Canal Grande, Venetian: Canalasso) is the most important canal in Venice, Italy. It forms one of the major water-traffic corridors in the city. Public transport is provided by water buses and private water taxis, but many tourists visit it by gondola.

At one end the canal leads into the lagoon near Santa Lucia railway station and the other end leads into Saint Mark Basin: in between it makes a large S-shape through the central districts ("sestieri") of Venice. It is 3800 m long, 30-90 m wide, with an average depth of five meters.

The Grand Canal banks are lined with more than 170 beautiful buildings, most of which date to 13th/18th century and demonstrate the welfare and art created by the Republic of Venice. The noble venetian families faced huge expenses to show off their richness in suitable palazzos: this contest reveals the citizens’ pride and the deep bond with the lagoon.

Amongst the many are the Palazzi Barbaro, Ca' Rezzonico, Ca' d'Oro, Palazzo Dario, Ca' Foscari, Palazzo Barbarigo and to Palazzo Venier dei Leoni, housing the Peggy Genheim Collection. The churches along the canal include the basilica of Santa Maria della Salute. Centuries-old tradition such as the Historical Regatta are perpetuated every year along the Canal.

Because most of the city's traffic goes along the Canal rather than across it, only one bridge crossed the canal until the 19th century, the Rialto Bridge. There are currently two more bridges, the Ponte degli Scalzi and the Ponte dell'Accademia. A fourth bridge designed by Santiago Calatrava is now under construction, connecting the train station to the vehicle-open area of Piazzale Roma. As was usual in the past, people can still take a ferry ride across the canal at several points by standing up on the deck of a simple gondola called traghetto.

Most of the palaces emerge from water without pavement: only sailing one can contemplate continuously this peaceful sequence of facades illuminated by water reflections, isolated from people streams and "fenced" with piles. The Grand Canal is thus an enchanted place, contributing to the magic of one of the most beloved cities in the world.

The first settlements
The Grand Canal probably follows the course of an ancient river (maybe a branch of the Brenta) flowing into the lagoon. Adriatic Veneti groups already lived beside the formerly called "Rio Businiacus" before the Roman age. They lived in stilt houses and on fishing and commerce (mainly salt). Under the rule of the Roman empire and later of the Byzantine empire the lagoon became populated and important, and in the early 9th century the doge moved his seat from Malamocco to the safer "Rivoaltus".

The increasing trades followed the doge and found in the deep Grand Canal a safe and ship accessible canal-port. As the whole city, this area became compact as we can see today after drainage: at that time the Canal was wider and flowed between small, tide-subjected islands connected by wooden bridges.

The Fondaco dei Turchi.Along the Canal the number of "fondaco" houses increased, buildings combining the warehouse and the merchant's residence.

A portico (the curia) covers the bank and facilitates the ships' unloading. From the portico a corridor flanked by storerooms reaches a posterior courtyard. Similarly, on the first floor a loggia as large as the portico illuminates the hall into which open the merchant's rooms. The facade is thereby divided into an airy central part and two more solid sides. A low mezzanine with offices divides the two floors.

The fondaco house often had two lateral defensive towers (torreselle), as in the Fondaco dei Turchi (13th century, heavily restored in the 19th). With the German warehouse, the Fondaco dei Tedeschi (which is also situated on the Grand Canal), it reflects the high number of foreign merchants working in Venice, where the republic supplied them with storerooms and lodging and simultaneously controlled their trading activity.

More public buildings were built along the Canal at Rialto: palaces for commercial and financial Benches (Palazzo dei Camerlenghi and Palazzo dei Dieci Savi, rebuilt after 1514 fire), a mint. In 1181 Nicolo Barattieri carried out a pontoon bridge connecting Rialto to Mercerie area, later replaced by a wooden bridge with shops on it. Warehouses for flour and salt were more peripheral.

The Venetian-Byzantine style
From the Byzantine empire goods arrived together with sculptures, friezes, columns and capitals to decorate the fondaco houses of patrician families. The Byzantine art merged with previous elements resulting in a Venetian-Byzantine style; in architecture it was characterized by large loggias with round or elongated arches and by polychrome marbles abundance.

Along the Grand Canal these elements are well preserved in Ca' Farsetti, Ca' Loredan (both municipal seats) and









fashion courses italy







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