Tuscany Decorating Pictures - Horse Decor For Kids.
Tuscany Decorating Pictures
(decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"
(decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"
Confer an award or medal on (a member of the armed forces)
Provide (a room or building) with a color scheme, paint, wallpaper, etc
Make (something) look more attractive by adding ornament to it
(decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"
(picture) visualize: imagine; conceive of; see in one's mind; "I can't see him on horseback!"; "I can see what will happen"; "I can see a risk in this strategy"
Form a mental image of
Represent (someone or something) in a photograph or picture
Describe (someone or something) in a certain way
(picture) a visual representation (of an object or scene or person or abstraction) produced on a surface; "they showed us the pictures of their wedding"; "a movie is a series of images projected so rapidly that the eye integrates them"
(pictural) pictorial: pertaining to or consisting of pictures; "pictorial perspective"; "pictorial records"
a region in central Italy
(tuscan) of or relating to or characteristic of Tuscany or its people
A region in west central Italy, on the Ligurian Sea; capital, Florence
(tuscan) a dialect of Italian spoken in Tuscany (especially Florence)
Morning Light Tuscany Framed Art Print by Nancy O''Toole, Image size: 8.12"" x 8.12""
Canadian Artist Nancy O''Toole captures the changing light of a Tuscan day. From the golden glow of open fields to the shadows under cypress trees, her Impressionistic renderings of the Italian countryside are perfect examples of her signature landscape style. Artist: Nancy O''Toole Title: Morning Light Tuscany Framed Art Print Frame: 1 3/4"" Black with Embossed Inner Gold Detail Mat: monastery/pure white Image Dimensions: 8.12 in. W x 8.12 in. H Outside Frame Dimensions: 18.23 in. W x 18.23 in. H Visit our Amanti Art storefront for a wide variety of top quality framed art prints, canvas, mirrors and more.
About Chiesa di Santa Maria della Spina[Eng. The Church of Santa Maria della Spina]
The small Church of Santa Maria della Spina is a remarkable example of Pisan Gothic. It was built in 1230 on the banks of the river Arno next to an important bridge, called Ponte Novo, that used to join the streets Santa Maria and Sant’Antonio. The bridge was destroyed during the 15th century and was never rebuilt. Being the church close to the bridge, it was given the name of Santa Maria de Pontenovo, changed in 1333 to Santa Maria della Spina, when it preserved the reliquary of a thorn of the Saviour’s crown (spina = thorn). Today the reliquary is in the church of Santa Chiara.
Originally the building was a small oratory constituted by a loggia. In 1322, due to the interest of the Commune of Pisa, the works to enlarge it began; they were finished about fifty years later, under the supervision of the Pisan architect and sculptor Lupo di Francesco. The vicinity to the river has always determined a constant threat to the stability of the church. In fact, as attested by numerous documents, from the 15th century the church underwent many restorations aimed at repairing the damages from the subsiding of the ground and at consolidating the architectural structures. However, the most radical intervention was carried out in 1871, when the whole building was completely dismantled and rebuilt on a level about one meter higher. On this occasion, many statues were removed and replaced by copies, while the sacristy was lost. The result was that the church was altered in its proportions and shape.
The small church of Santa Maria della Spina is a remarkable example of Pisan Gothic. It was built in 1230 on the banks of the river Arno next to an important bridge, called Ponte Novo, which used to join the streets Santa Maria and Sant’Antonio. The bridge was destroyed during the 15th century and was never rebuilt. Being the church close to the bridge, it was given the name of Santa Maria de Pontenovo, changed in 1333 to Santa Maria della Spina, when it preserved the reliquary of a thorn of the Saviour’s crown (spina = thorn). Today the reliquary is in the church of Santa Chiara.
Originally the building was a small oratory constituted by a loggia. In 1322, due to the interest of the Commune of Pisa, the works to enlarge it began; they were finished about fifty years later, under the supervision of the Pisan architect and sculptor Lupo di Francesco. The vicinity to the river has always determined a constant threat to the stability of the church. In fact, as attested by numerous documents, from the 15th century the church underwent many restorations aimed at repairing the damages from the subsiding of the ground and at consolidating the architectural structures. However, the most radical intervention was carried out in 1871, when the whole building was completely dismantled and rebuilt on a level about one metre higher. On this occasion, many statues were removed and replaced by copies, while the sacristy was lost. The result was that the church was altered in its proportions and shape. The church is on a rectangular plan and the whole facing is made of black and white bands. Elegant spires characterize it, tympanums and tabernacles completed by refined sculptural decorations, such as tarsias, rose windows and many statues (now replaced by copies; the originals are in the National Museum of San Matteo) carried out by the major 14th-century sculptors in Pisa. In fact, to the decoration of the church contributed Lupo di Francesco (documented from 1299 to 1336), one of the most creative followers of Giovanni Pisano and head of a busy workshop in which his three sons, Cecco, Asinello and Ghiero, also worked. To Lupo probably succeeded Andrea Pisano (Pisa, end of the 13th century - after 1348), who trained in Florence and was particularly influenced by Giotto’s models; he was helped by his sons Nino and Tommaso. On the other hand, until today, there is no certain evidence of a direct contribution to the works on the church by the great Giovanni Pisano (Pisa, abt. 1245 - Siena, after 1314), who revived Italian Gothic sculpture; neither is certain the contribution of his follower Giovanni di Balduccio (documented from 1318 to 1349). However, among the decorations there are two important sculptures by the two artists. On the facade there are two portals surmounted by arches with double lintels and divided by a pilaster that supports a tabernacle with the statue of the Madonna and Child attributed to Giovanni Pisano, between two Angels. The upper part of the facade is crowned by three triangular pediments decorated with rose windows and marble inlays and
Ferrara city hall (Castello Estense) Italy
i have this one taken on a day when i was lucky that i had clouds in the sky, most of the time we had only blue sky.
for photos i the details of clouds in the sky that make the different in a photo.
Ferrara listen is a city and comune in Emilia-Romagna, northern Italy, capital city of the Province of Ferrara. It is situated 50 km north-northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located 5 km north. The town has broad streets and numerous palaces dating from the 14th century and 15th century, when it hosted the court of the House of Este. For its beauty and cultural importance it has been qualified by UNESCO as World Heritage Site. Modern times have brought a renewal of industrial activity. Ferrara is on the main rail line from Bologna to Padua and Venice, and has branches to Ravenna, Poggio Rusco (for Suzzara) and Codigoro. In 2006, due to its important historical significance, Ferrara became the headquarters of the Italian Hermitage Museum. It is the fifth city in the world to have been linked with the Russian museum. From this union was born the Hermitage-Italy
The origin of Ferrara is uncertain, it was probably settled by the inhabitants of the lagoons at the mouth of Po river; there are two early centers of settlement, one round the cathedral, the other, the castrum bizantino, being the San Pietro district, on the opposite shore, where the Primaro empties into the Volano channel. Ferrara appears first in a document of the Lombard king Desiderius of 753 AD, as a city forming part of the Exarchate of Ravenna. Desiderius pledged a Lombard ducatus ferrariae ("Duchy of Ferrara") in 757 to Pope Stephen II. After 984 it was a fief of Tedaldo, count of Modena and Canossa, nephew of the emperor Otto I. It afterwards made itself independent, and in 1101 was taken by siege by the countess Matilda. At this time it was mainly dominated by several great families, among them the prominent Adelardi
In 1146, Guglielmo II of Adelardi, the last of the House of Adelardi, died, and his property passed, as the dowry of his niece the Marchesella, to Obizzo I of Este. There was considerable hostility between the newly entered family and the prominent Salinguerra family, but after considerable struggles Azzo VII of Este was nominated perpetual podesta in 1242; in 1259 he took Ezzelino of Verona prisoner in battle. His grandson, Obizzo II (1264–1293), succeeded him, and he was made perpetual lord of the city by the population. The House of Este was from henceforth settled in Ferrara. In 1289 he was also chosen as lord of Modena, one year later he was made lord of Reggio. Niccolo III (1393–1441) received several popes with great magnificence, especially Eugene IV, who held a council here in 1438. His son Borso received the title of duke for the imperial fiefs of Modena and Reggio from Emperor Frederick III in 1452 (in which year Girolamo Savonarola was born here), and in 1471 was made duke of Ferrara by Pope Paul II. Ercole I (1471–1505) carried on a war with Venice and increased the magnificence of the city.
During the reign of Ercole d'Este I, one of the most significant patrons of the arts in late 15th and early 16th century Italy after the Medici, Ferrara grew into a cultural center, renowned for music as well as for visual arts. The painters established links with Flemish artists and their techniques, exchanging influences in the colors and composition choices. Composers came to Ferrara from many parts of Europe, especially France and Flanders; Josquin Des Prez worked for Duke Ercole for a time (producing the Missa Hercules dux Ferrari?, which he wrote for him); Jacob Obrecht came to Ferrara twice (and died during an outbreak of plague there in 1505); and Antoine Brumel served as principal musician from 1505. Alfonso I, son of Ercole, was also an important patron; his preference for instrumental music resulted in Ferrara becoming an important center of composition for the lute. The architecture of Ferrara benefitted from the genius of Biagio Rossetti, who was asked in 1484 by Ercole I to redesign the plan of the city. The resulting "Addizione Erculea" is one of the most important and beautiful examples of renaissance city planning and contributed to the selection of Ferrara as UNESCO World Heritage Site.
Alfonso married the notorious Lucrezia Borgia, and continued the war with Venice with success. In 1509 he was excommunicated by Pope Julius II, and he overcame the pontifical army in 1512 defending Ravenna. Lucrezia, together with other members of the Este house, is buried in the convent of Corpus Domini.
Gaston de Foix fell in the battle, in which he was supporting Alfonso. With the succeeding popes he was able to make peace. He was the patron of Ariosto from 1518 onwards. His son Ercole II married Renee of France, daughter of Louis XII of France; he too embellished Ferrara during his reign (1534–1559).
tuscany decorating pictures
Tandi Venter was born in South Africa and studied graphic design at the Johannesburg Art Foundation. Her background in graphic design ensures that all her work has a strong sense of composition, along with great awareness of color and texture. Artist: Tandi Venter Title: Memories of Tuscany II Framed Canvas Art Frame: 2"" Dark Espresso Finish with Raised Lip Image Dimensions: 16.00 in. W x 16.00 in. H Outside Frame Dimensions: 19.46 in. W x 19.46 in. H The canvas transfer process involves lifting an image from a paper print, transferring and permanently fusing it to canvas, which gives it a texture unlike standard paper prints. You''ll love the rich depth and beauty that our artist-grade canvas adds to your visual experience. The surface is deeper, giving it qualities of both a glossy and a matte finish at the same time. Colors seem more vibrant and realistic, and the finished piece has the feel of an artist''s original. Visit our Amanti Art storefront for a wide variety of top quality framed art prints, canvas, mirrors and more.