By Francis Russell
"The writer has completed the close to impossible...a must-squeeze-into-hand-baggage or the again pack."—House and Garden
"A minor classic."—The instances Literary Supplement
This own, and beautifully well-informed, number of the main profitable cities, towns, villages, and person monuments in Italy is the definitive guidebook for the discerning traveller. the writer has been traveling Italy, for examine, for paintings, and for excitement, for over fifty years, and is the suitable spouse in the event you need to know approximately greater than the most obvious attractions.
As good as comprehensively masking the best attractions within the significant vacationer facilities of Rome, Florence, Venice, and somewhere else, Francis Russell discusses and describes the missed, or little-known, masterpieces which are nonetheless to be stumbled on the size and breadth of the Italian peninsula. In a ebook that would train and astonish the specialist as definitely because it will consultant and tell the first-time customer, the writer chooses and explores palaces and gardens, urban squares and lonely church buildings, frescoes and altarpieces, nice museums and tiny ruins that jointly offer a richly textured portrait of a rustic the place the background and styles of civilization lie extra thickly than anyplace else on earth.
This e-book will immeasurably increase and improve the visitor's event of the main visited state on this planet, through advantage of its sensitivity, its knowledge, and its deep wisdom, and via its brilliant, eloquent, and pleasing exposition.
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Extra info for 101 Places in Italy: A Private Grand Tour
In the resulting war the city was sacked and the ducal picture collection sold to King Charles I of England. Neither under the cadet branch of the family which succeeded, nor under sub- sequent imperial rule, did Mantua fully recover. The prodigious ducal palace is at the north-eastern corner of the town, protecting the Ponte San Giorgio, Mantegna’s view of which in his Death of the Virgin in the Prado is still recognizable. The entrance to the palace is on the unexpectedly large Piazza Sordello.
For Sir John Reresby, writing in 1654, ‘they would pass for painted by some extraordinary hand’. And nowhere are the wayward eccentricities of that most individual of Venetian Renaissance masters more evident than in these inventive designs. Lotto worked in and around Bergamo on a number of occasions between 1516 and 1533. Because his stature was not properly recognized until the appearance of Berenson’s monograph in 1894, there was no incentive for the French to appropriate pictures by him. To see two closely related masterpieces of 1521, descend from the Città Alta to the palazzo-lined Via Pignolo.
Work on the church overlapped with that on San Sebastiano 800 metres south-west on the Largo XXIV Maggio. This was designed by Alberti in 1460. Restoration has not affected the integrity of the elegant interior, perhaps the first of the Renaissance on a Greek cross plan. Continuing in the same direction for 300 metres, one is confronted on the 53 left by the uncompromising rusticated façade of the Palazzo Te, the extraordinary villa created for Francesco II Gonzaga between 1525 and 1535 by Giulio Romano.