View allAll Photos Tagged Dazio.
Tout près de Riva del Garda , au NE du lac de Garde , se trouve cet adorable et pittoresque village de pêcheurs avec un tout petit port et ses maisons colorées .
Torbole avait fasciné Goethe qui n ' y a pourtant passé qu' une nuit , lui préférant Riva ( voir photo précédente ) ainsi que de nombreux peintres tel Lietzmann qui y est enterré !
Torbole est entouré du plus haut massif montagneux du lac de Garde .
Grâce à sa situation abritée entre les deux monts , cette baie bénéficie de vents constants toute l'année , d' où un paradis pour les surfeurs et les kitesurfeurs !
La petite maison jaune de profil ,
" la casa del Dazio " a été le siège de la douane autrichienne qui l'a faite construire au début du XVIII è siècle .
Regno Unito, North Yorkshire, Robin Hood's Bay, Primavera 2021
Robin Hood's Bay è un piccolo villaggio di pescatori situato nello Yorkshire, in Inghilterra. L'origine del nome è incerta, ed è dubbio (oltre al fatto che questa figura sia mai realmente esistita), che Robin Hood sia mai stato nelle vicinanze del villaggio. Una ballata e una leggenda inglese raccontano la storia di Robin Hood che incontro’ i pirati francesi che saccheggiavano le barche dei pescatori e la costa nord-orientale. I pirati si arresero e Robin Hood restituì il bottino ai poveri del villaggio che ora si chiama Robin Hood's Bay. La città, che consiste in un labirinto di stradine, ha una tradizione di contrabbando e si ritiene che ci sia una rete di passaggi sotterranei che collegano le case. Durante la fine del XVIII secolo il contrabbando era diffuso sulla costa dello Yorkshire. Navi dal continente portavano prodotti che venivano distribuito tramite contatti a terra e le operazioni erano finanziate da sindacati che realizzavano profitti senza i rischi assunti dai marinai e dagli abitanti del villaggio. Tè, gin, rum, brandy e tabacco erano tra i prodotti contrabbandati nello Yorkshire dai Paesi Bassi e dalla Francia per evitare il dazio. Il romanzo Dracula di Bram Stoker, scritto nel 1897, ha scene ambientate nella Baia di Robin Hood.
Robin Hood's Bay is a small fishing village located in Yorkshire, England. The origin of the name is uncertain, and it is doubtful (even if such a real person ever existed), that Robin Hood was ever in the vicinity of the village. An English ballad and legend tell a story of Robin Hood encountering French pirates who came to pillage the fishermen's boats and the northeast coast. The pirates surrendered and Robin Hood returned the loot to the poor people in the village that is now called Robin Hood's Bay. The town, which consists of a maze of tiny streets, has a tradition of smuggling, and there is reputed to be a network of subterranean passageways linking the houses. During the late 18th century smuggling was rife on the Yorkshire coast. Vessels from the continent brought contraband which was distributed by contacts on land and the operations were financed by syndicates who made profits without the risks taken by the seamen and the villagers. Tea, gin, rum, brandy and tobacco were among the contraband smuggled into Yorkshire from the Netherlands and France to avoid the duty. The novel Dracula by Bram Stoker, written in 1897, has scenes set in Robin Hood's Bay.
Regno Unito, North Yorkshire, Robin Hood's Bay, Primavera 2021
Robin Hood's Bay è un piccolo villaggio di pescatori situato nello Yorkshire, in Inghilterra. L'origine del nome è incerta, ed è dubbio (oltre al fatto che questa figura sia mai realmente esistita), che Robin Hood sia mai stato nelle vicinanze del villaggio. Una ballata e una leggenda inglese raccontano la storia di Robin Hood che incontro’ i pirati francesi che saccheggiavano le barche dei pescatori e la costa nord-orientale. I pirati si arresero e Robin Hood restituì il bottino ai poveri del villaggio che ora si chiama Robin Hood's Bay. La città, che consiste in un labirinto di stradine, ha una tradizione di contrabbando e si ritiene che ci sia una rete di passaggi sotterranei che collegano le case. Durante la fine del XVIII secolo il contrabbando era diffuso sulla costa dello Yorkshire. Navi dal continente portavano prodotti che venivano distribuito tramite contatti a terra e le operazioni erano finanziate da sindacati che realizzavano profitti senza i rischi assunti dai marinai e dagli abitanti del villaggio. Tè, gin, rum, brandy e tabacco erano tra i prodotti contrabbandati nello Yorkshire dai Paesi Bassi e dalla Francia per evitare il dazio. Il romanzo Dracula di Bram Stoker, scritto nel 1897, ha scene ambientate nella Baia di Robin Hood.
Robin Hood's Bay is a small fishing village located in Yorkshire, England. The origin of the name is uncertain, and it is doubtful (even if such a real person ever existed), that Robin Hood was ever in the vicinity of the village. An English ballad and legend tell a story of Robin Hood encountering French pirates who came to pillage the fishermen's boats and the northeast coast. The pirates surrendered and Robin Hood returned the loot to the poor people in the village that is now called Robin Hood's Bay. The town, which consists of a maze of tiny streets, has a tradition of smuggling, and there is reputed to be a network of subterranean passageways linking the houses. During the late 18th century smuggling was rife on the Yorkshire coast. Vessels from the continent brought contraband which was distributed by contacts on land and the operations were financed by syndicates who made profits without the risks taken by the seamen and the villagers. Tea, gin, rum, brandy and tobacco were among the contraband smuggled into Yorkshire from the Netherlands and France to avoid the duty. The novel Dracula by Bram Stoker, written in 1897, has scenes set in Robin Hood's Bay.
Leggere le note e ingrandire per vedere la casa ex dazio e una delle antiche vie del sale.
Clicca L - press L thank you
scorcio scattato da casa con un caldo umido tremendo...
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Thank you everyone who has taken the time to view, fave or comment on my photo. It is very much appreciated.
Torbole is the centre of many outdoors activities - wind surfing, biking, hiking, climbing and more. Especially picturesque is the small harbour with Casa del Dazio, the early 18th century customs house.
Lichtquelle
Tief im Innern eines Gletschers: gefrorenes Wasser, erstarrt in der Zeit.
Ein Lichtpunkt bringt die Dunkelheit zum Leuchten.
Fotografie in einer Eishöhle, ohne KI, mit Stirnlampe und viel Geduld.
👉 Wenn dir dieses Bild gefällt:
Besuch meine Ausstellung „La bellezza fragile dei ghiacciai: un mondo che scompare“
📍 Dazio Grande, Rodi-Fiesso (CH) | bis 14.9.2025
Costruita nel 1700 per conto del Governo di Vienna, la "Casa del Dazio" presso Torbole (TN) era sede delle guardie del porto come posto di dazio per le merci che salivano poi verso Trento. Ad oggi monumento Nazionale, è un soggetto molto scenografico per le foto paesaggistiche.
Built in 1700 on behalf of the Government of Vienna, the "Customs Duty House" at Torbole (TN) was the seat of the port guards as a customs post for the goods that then went up to Trento. Today a National Monument, it is a very scenic subject for landscape photos.
Vista notturna per il porto di Torbole (TN) che si affaccia sul Lago di Garda, gli alberghi e in primo piano la "Casa del Dazio" sono addobbati da decorazioni Natalizie.
Night view of the port of Torbole (TN) that overlloks at the Lake Garda, the hotels and in the foreground the "Casa del Dazio" are adorn with Christmas decorations.
Eretta all'inizio del XVIII secolo per conto del Governo di Vienna, la "Casa del Dazio" situata nel piccolo porto di Torbole (TN), sulla sponda a nord del Lago di Garda, è stata per molti anni il crocevia delle merci che dalla pianura andavano verso Trento. Ad oggi è insignito del titolo di Monumento Nazionale.
Built at the beginning of the 18th century on behalf of the Government of Vienna, the "Customs house" located in the small port of Torbole (TN) on the northern shore of Lake Garda was for many years the crossroads of goods that went from the plain to Trento. Today it is awarded the title of National Monument.
Un'atmosfera diversa da quella estiva con il caos di turisti che affollano il lungolago, è quella che si può ammirare nel periodo Natalizio nei paesi che contornano il Lago di Garda. Qui presso la Casa del Dazio a Torbole (TN).
A different atmosphere from the summer one with the chaos of tourists crowding the lakefront, is the one that can be admired during the Christmas period in the villages surrounding Lake Garda. Here at the house of customs duty in Torbole (TN).
www.facebook.com/CleanRome/?fref=nf
Campagna di sensibilizzazione per la salvaguardia del patrimonio artistico di Roma, senza scopo di lucro
Awareness campaign for the preservation of the artistic heritage of Rome
#PalazzoMontecitorio si affaccia sulla piazza omonima e ospita la #CameradeiDeputati della #RepubblicaItaliana. Commissionato nel 1653 da #PapaInnocenzoX a #GianLorenzoBernini come residenza della famiglia #Ludovisi, subì più volte l’interruzione dei lavori di costruzione per contrasti tra Innocenzo X e il Principe Niccolò Ludovisi (che aveva sposato la cognata del Papa). I lavori vennero ripresi anni dopo dall'architetto #CarloFontana che convinse #InnocenzoXII a installarvi due importanti attività: la #CuriaPontificia e il #Dazio. Fontana conservò la caratteristica facciata convessa impostata dal Bernini aggiungendovi il campanile a vela e modificando il progetto dell'ingresso. Con il #Risorgimento, il palazzo fu espropriato dallo Regno d'Italia e destinato a ospitare la Camera dei deputati. I lavori di ampliamento furono affidati all'architetto palermitano #ErnestoBasile, esponente di primo piano della stagione #liberty italiana, che costruì un nuovo edificio alle spalle dell'originale. Basile mantenne infatti solo la parte frontale del palazzo berniniano innalzando, sulla piazza del Parlamento, il nuovo corpo di fabbrica caratterizzato da quattro torri angolari in mattoni rossi e travertino. All'interno di questo blocco Basile collocò l'aula delle sedute, illuminata da uno straordinario lucernario a ventaglio in stile liberty, il noto #Velario di #GiovanniBeltrami. A Basile si deve anche l'imponente salone detto #Transatlantico posto sul diametro dell'emiciclo e centro informale della vita politica italiana.
Palazzo Montecitorio overlooks the homonymous square and houses the Chamber of Deputies of the Italian Republic. Commissioned in 1653 by Pope Innocent X to Gian Lorenzo Bernini as the residence of the Ludovisi family, it underwent several times the interruption of the construction work because of contrasts between Innocent X and Prince Niccolò Ludovisi (who had married the sister of the Pope). The work was taken up years later by the architect Carlo Fontana who persuaded Pope Innocent XII to install there two crucial activities: the Papal Curia and the Dazio. Fontana kept the characteristic convex façade set by Bernini adding a bell tower and changing the entrance project. During the Risorgimento period, the palace was expropriated by the Kingdom of Italy and destined to house the Chamber of Deputies. The works of the building expansion was entrusted to architect Ernesto Basile from Palermo, a leading exponent of Italian Art Nouveau season, who designed a new building behind the original. Basile mantained the Bernini façade but added a new building on the Parliament Square that features four corner towers in red brick and travertine. Within this block Basile placed the hall of sessions, illuminated by an extraordinary fan-shaped skylight, an Art Nouveau masterpiece: the known Velario by Giovanni Beltrami. Basile also designed the impressive lounge called "Transatlantico" placed on the hemicycle diameter that became the informal center of Italian political life.
testo di #alessandroloschiavo
One of several images of saint Mark's Lion which have been moved elsewhere in the city. This one is in the Accademia Gallery --- --- --- Vittore Carpaccio’s symbolic Lion of Saint Mark was long believed to have been painted for the treasury office in the Palazzo dei Camerlenghi at the foot of the Rialto Bridge. Recent studies have uncovered that the work was commissioned in 1516 by five patricians who served as the administrators of the Dazio del Vino, the office responsible for levying duties on wine. Today it is displayed in the Palazzo Ducale and will be featured in an upcoming exhibition on Vittore Carpaccio that is now scheduled for 2023.
The painting represents the essence of Venice, a vast maritime empire flourishing as a center of international trade and culture. The lion’s powerful pose, with his hind legs immersed in Saint Mark’s Basin and his front paws on solid ground, signifies the republic’s domain over land and sea. With his right paw, the lion holds an open book that reads “Pax Tibi Marce, Evangelista Meus” — a reference to the legend of Saint Mark, the patron saint of Venice.
The detailed background not only demonstrates Carpaccio’s skill in landscape painting, but also provides a historic testament of the cityscape of early sixteenth-century Venice. The precise depiction of the Piazza San Marco includes the updated spire of the Clock Tower, a project that had been completed in 1515. The faithful view of Venice as seen from the island of San Giorgio Maggiore illustrates the Arsenale, the Lido, and boats in the lagoon.
Porta Borsari is an ancient Roman gate in Verona.
It dates to the 1st century AD, though it was most likely built over a pre-existing gate from the 1st century BC. An inscription dating from emperor Gallienus' reign reports another reconstruction in 265 AD. The Via Postumia (which here became the decumanus maximus) passed through the gate, which was the city's main entrance and was therefore richly decorated. It also originally had an inner court, now disappeared.
The gate's Roman name was Porta Iovia, as it was located near a small temple dedicated to Jupiter lustralis. In the Middle Ages it was called Porta di San Zeno, while the current name derives from the guard soldiers which were paid the dazio (Latin bursarii).
The façade, in local white limestone, has two arches flanked by semi-columns with Corinthian capitals which supports entablature and pediment. In the upper part is a two-floor wall with twelve arched windows, some of which are included in small niches with triangular pediment.
Many thanks to everyone who will pass by visiting my shots. Comments are appreciated. You are welcome. Sergio
Panasonic Lumix FZ28
© Sergio Presbitero 2011, All Rights Reserved
This work may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
I couldn't seem to get these two pictures to stitch satisfactorily so I am presenting them separately.
Porta Borsari is an ancient Roman gate in Verona, northern Italy.
It dates to the 1st century AD, though it was most likely built over a pre-existing gate from the 1st century BC. An inscription dating from emperor Gallienus' reign reports another reconstruction in 265 AD. The Via Postumia (which here became the decumanus maximus) passed through the gate, which was the city's main entrance and was therefore richly decorated. It also originally had an inner court, now disappeared.
The gate's Roman name was Porta Iovia, as it was located near a small temple dedicated to Jupiter lustralis. In the Middle Ages it was called Porta di San Zeno, while the current name derives from the guard soldiers which were paid the dazio (Latin bursarii).
The façade, in local white limestone, has two arches flanked by semi-columns with Corinthian capitals which supports entablature and pediment. In the upper part is a two-floor wall with twelve arched windows, some of which are included in small niches with triangular pediment.
LA CHIESETTA DEGLI INNAMORATI
Scendendo dalla Piazza del Duomo verso il Tagliamento, si trova a metà costa, la Chiesetta dell’Ancona.
Già nel 1597 l’Ancona viene dedicata alla Madonna della Mercede (venerata il 24 settembre) pregata come protettrice dalle insidie del guado del Tagliamento. Inizialmente al posto dell’edificio che vediamo oggi esisteva un capitello, ampliato e reso “chiesa” nel 1672 con il materiale della distrutta Chiesa di San Girolamo in Saletto, devastata da una piena del Tagliamento.
Nel 1687 l’Ancona venne ampliata con una loggia, al fine di ospitare il numero sempre più grande di fedeli, che vi si riunivano.
In questo luogo si incontravano dunque mercanti e pellegrini, poiché sorgeva su un passaggio obbligato per attraversare il guado del Tagliamento, dopo aver pagato un dazio, raggiungere poi Gemona, Venzone e proseguire verso le Germanie.
Per la sua bellezza e la sua posizione panoramica sul Tagliamento, l’Ancona è considerata dagli spilimberghesi la chiesetta degli innamorati.
Note tratte dal sito:
www.vivispilimbergo.it/chiese/santuario-dellancona/
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THE CHURCH OF LOVERS
Going down from the Piazza del Duomo towards the Tagliamento, halfway up the hill, you will find the Chiesetta dell’Ancona.
Already in 1597, the Ancona was dedicated to the Madonna della Mercede (venerated on September 24), prayed to as protector from the dangers of the Tagliamento ford. Initially, in place of the building we see today, there was a shrine, enlarged and made into a “church” in 1672 with the material of the destroyed Church of San Girolamo in Saletto, devastated by a flood of the Tagliamento.
In 1687, the Ancona was enlarged with a loggia, in order to accommodate the ever-increasing number of faithful who gathered there.
In this place, merchants and pilgrims met, since it stood on a mandatory passage to cross the Tagliamento ford, after paying a toll, then reach Gemona, Venzone and continue towards Germany.
Due to its beauty and its panoramic position on the Tagliamento, the Ancona is considered by the people of Spilimbergo to be the lovers' church.
CANON EOS 6D Mark II con ob. CANON EF 24-85 f./3,5-4,5 USM
Looking back on 2025.
Twenty exhibitions across four countries: Austria, Switzerland, Italy, and Germany, in cities including Vienna, Innsbruck, Lienz, Geneva, Zurich, Domodossola, Munich, and Berlin,
as well as festivals such as La Gacilly Baden, WunderWelten Bodensee, and Photo+Adventure.
I’m grateful for the many opportunities to show my work, for countless inspiring encounters, friendships
and for thoughtful reviews and awards. On to the next chapter in 2026!
With thanks to CEWE Österreich for the high-quality prints of my first solo exhibition "The Fragile Beauty of Glaciers – A Vanishing World" at Dazio Grande, Rodi-Fiesso, Switzerland.
Many thanks also to Fotoclub Lienz, Foto Club Turrita, Swiss Photo Club, and ÖVF for their support and collaboration.
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Rückblick auf 2025.
Zwanzig Ausstellungen in vier Ländern: Österreich, Schweiz, Italien und Deutschland, in Städten wie Wien, Innsbruck, Lienz, Genf, Zürich, Domodossola, München und Berlin,
sowie auf Festivals wie La Gacilly Baden, WunderWelten Bodensee und Photo+Adventure.
Ich bin dankbar für die vielen Möglichkeiten, meine Arbeit zu zeigen,
für unzählige inspirierende Begegnungen, Freundschaften sowie für Rezensionen und Auszeichnungen.
Auf zum nächsten Kapitel in 2026!
Dank an CEWE Österreich für die hochwertigen Drucke meiner ersten Einzelausstellung "Die fragile Schönheit der Gletscher – eine verschwindende Welt" im Dazio Grande, Rodi-Fiesso, Schweiz.
Vielen Dank auch an Fotoclub Lienz, Foto Club Turrita, Swiss Photo Club und den ÖVF für ihre Unterstützung und Zusammenarbeit.
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Ripensando al 2025.
Venti mostre in quattro Paesi: Austria, Svizzera, Italia e Germania,
in città come Vienna, Innsbruck, Lienz, Ginevra, Zurigo, Domodossola, Monaco e Berlino, oltre a festival come La Gacilly Baden, WunderWelten Bodensee e Photo+Adventure.
Sono grata per le numerose opportunità di presentare il mio lavoro, per innumerevoli incontri stimolanti, amicizie e per recensioni e riconoscimenti.
Inizia il prossimo capitolo: il 2026!
Un ringraziamento a CEWE Österreich per le stampe di alta qualità della mia prima mostra personale "La bellezza fragile dei ghiacciai – un mondo che scompare" al Dazio Grande, Rodi-Fiesso, Svizzera.
Grazie mille anche a Fotoclub Lienz, Foto Club Turrita, Swiss Photo Club e all'ÖVF per il loro sostegno e la collaborazione.
Ich liebe Eis... und genau diese Liebe möchte ich mit euch teilen
Eine Variante dieses Bildmotivs ist, zusammen mit 40 grossformatigen Gletscherfotos noch bis zum 14. September 2025 in meiner Ausstellung „Die Fragile Schönheit der Gletscher - eine verschwindende Welt“ im Dazio Grande in Rodi-Fiesso (Tessin, CH) zu sehen.
I couldn't seem to get these two pictures to stitch satisfactorily so I am presenting them separately.
Porta Borsari is an ancient Roman gate in Verona, northern Italy.
It dates to the 1st century AD, though it was most likely built over a pre-existing gate from the 1st century BC. An inscription dating from emperor Gallienus' reign reports another reconstruction in 265 AD. The Via Postumia (which here became the decumanus maximus) passed through the gate, which was the city's main entrance and was therefore richly decorated. It also originally had an inner court, now disappeared.
The gate's Roman name was Porta Iovia, as it was located near a small temple dedicated to Jupiter lustralis. In the Middle Ages it was called Porta di San Zeno, while the current name derives from the guard soldiers which were paid the dazio (Latin bursarii).
The façade, in local white limestone, has two arches flanked by semi-columns with Corinthian capitals which supports entablature and pediment. In the upper part is a two-floor wall with twelve arched windows, some of which are included in small niches with triangular pediment.
Die niederländische Fotografin Judith Mijderwijk ist eine international ausgezeichnete Autodidaktin, leidenschaftliche Bergliebhaberin und wohnhaft in Österreich. Im Dazio Grande präsentiert sie ihre erste Einzelausstellung. Gezeigt werden rund 40 grossformatige Fotografien, die überwiegend in der Schweiz entstanden sind und die verborgene Schönheit sowie die fragile Pracht der alpinen Gletscher einfangen: von Eishöhlen in leuchtenden Blautönen über abstrakte Eisformationen bis hin zu hochalpinen Landschaften und künstlerischen Schwarzweissaufnahmen von Alpinistinnen und Alpinisten.
Judith Mijderwijk spezialisiert sich auf alpine Landschaften, Wildtiere sowie Porträts von Menschen und Tieren. Ihre Begeisterung für die Berge reicht bis in ihre Jugend zurück. Eine besondere Beziehung verbindet sie seit vielen Jahren mit dem Tessin. Umso mehr freut sie sich, ihre erste Einzelausstellung hier, im Dazio Grande, präsentieren zu dürfen.
Ihre Fotografien entstehen oft auf mehrtägigen Touren durch die Alpen. Die Anreise erfolgt meistens mit öffentlichen Verkehrsmitteln, anschliessend setzt sie ihre Wege zu Fuss fort, oft in abgelegene Regionen, wo sie, wenn möglich, auch im Biwak übernachtet, um das besondere Licht der Dämmerung einzufangen oder Tiere stundenlang in ihrer natürlichen Umgebung zu beobachten. Diese Nähe zur Natur prägt ihren Blick: Sie zeigt nicht nur das Grosse und Erhabene, sondern auch das Flüchtige, das sich dem schnellen Blick entzieht.
Mit dieser Serie möchte sie die oft verborgene Schönheit des Eises sichtbar machen: Gletscherwelten, die sich durch ihre Farben, Formen und Lichtstimmungen in einzigartiger Weise entfalten. Anstatt den Rückgang der Gletscher dramatisch zu inszenieren, legt sie den Fokus auf deren vergängliche Ästhetik und stille Präsenz.
„Die fragile Schönheit der Gletscher – eine verschwindende Welt“ ist nicht nur eine fotografische Hommage an die Eislandschaften, sie ist auch ein stiller Weckruf. Die Bilder laden zur Kontemplation ein – sie zeigen eine Welt von betörender Schönheit und zugleich eine, die sichtbar schwindet. Zerbrechlich sind nicht nur die Gletscher. Auch wir sind es, wenn sich die Natur zu schnell verändert. Auch unsere Welt kann verschwinden.
Ergänzt wird die Ausstellung durch erläuternde Texte zum fotografischen Prozess sowie zum Thema Klimawandel. Die Präsentation im Dazio Grande bildet den Auftakt einer geplanten Wanderausstellung, die an weiteren Orten in der Schweiz und später auch im Ausland zu sehen sein wird.
Dutch photographer Judith Mijderwijk is an internationally awarded self-taught artist, a passionate mountain enthusiast, and currently based in Austria. At Dazio Grande, she presents her first solo exhibition. On display are around 40 large-format photographs, taken predominantly in Switzerland, capturing the hidden beauty and fragile splendour of the Alpine glaciers – from glowing blue ice caves and abstract formations to high-altitude landscapes and artistic black-and-white photos of alpinists.
Judith Mijderwijk specialises in alpine landscapes, wildlife, and portraits of both people and animals. Her love for the mountains began in her youth, and for many years she has maintained a special connection to Ticino. She is all the more delighted to present her first solo show here, at Dazio Grande.
Her photographs are often created during multi-day journeys through the Alps. She usually travels by public transport and continues on foot, often into remote regions. When possible, she bivouacs overnight to capture the delicate twilight or spend hours observing animals in their natural environment. This close relationship with nature informs her perspective: she not only reveals the grand and majestic, but also the fleeting, the moments that elude a hurried gaze.
With this series, she seeks to make the often-hidden beauty of ice visible: glacier worlds that unfold in unique ways through their colours, shapes, and light. Rather than dramatise the retreat of the glaciers, she places emphasis on their ephemeral aesthetics and quiet presence.
“The Fragile Beauty of Glaciers – A Disappearing World” is more than a photographic homage to icy landscapes, it is also a silent call to awareness. The images invite contemplation: they portray a world of captivating beauty and, at the same time, one that is visibly vanishing. It is not only the glaciers that are fragile. We, too, are vulnerable when nature’s balance shifts too quickly. Our world, too, can disappear.
The exhibition is accompanied by explanatory texts offering insight into both the photographic process and the issue of climate change. The presentation at Dazio Grande marks the beginning of a planned touring exhibition, which will later be shown at other venues in Switzerland and abroad.
One of several images of Saint Mark's Lion which has been moved elsewhere in the city. This one is now in the Accademia Gallery --- --- --- Vittore Carpaccio’s symbolic Lion of Saint Mark was long believed to have been painted for the treasury office in the Palazzo dei Camerlenghi at the foot of the Rialto Bridge. Recent studies have uncovered that the work was commissioned in 1516 by five patricians who served as the administrators of the Dazio del Vino, the office responsible for levying duties on wine.
The painting represents the essence of Venice, a vast maritime empire flourishing as a center of international trade and culture. The lion’s powerful pose, with his hind legs immersed in Saint Mark’s Basin and his front paws on solid ground, signifies the republic’s domain over land and sea. With his right paw, the lion holds an open book that reads “Pax Tibi Marce, Evangelista Meus” — a reference to the legend of Saint Mark, the patron saint of Venice.
The detailed background not only demonstrates Carpaccio’s skill in landscape painting, but also provides an historic testament of the cityscape of early sixteenth-century Venice. The precise depiction of the Piazza San Marco includes the updated spire of the Clock Tower, a project that had been completed in 1515. The faithful view of Venice as seen from the island of San Giorgio Maggiore illustrates the Arsenale, the Lido, and boats in the lagoon.
One of several images of saint Mark's Lion which have been moved elsewhere in the city. This one is in the Accademia Gallery --- --- --- Vittore Carpaccio’s symbolic Lion of Saint Mark was long believed to have been painted for the treasury office in the Palazzo dei Camerlenghi at the foot of the Rialto Bridge. Recent studies have uncovered that the work was commissioned in 1516 by five patricians who served as the administrators of the Dazio del Vino, the office responsible for levying duties on wine. Today it is displayed in the Palazzo Ducale and will be featured in an upcoming exhibition on Vittore Carpaccio that is now scheduled for 2023.
The painting represents the essence of Venice, a vast maritime empire flourishing as a center of international trade and culture. The lion’s powerful pose, with his hind legs immersed in Saint Mark’s Basin and his front paws on solid ground, signifies the republic’s domain over land and sea. With his right paw, the lion holds an open book that reads “Pax Tibi Marce, Evangelista Meus” — a reference to the legend of Saint Mark, the patron saint of Venice.
The detailed background not only demonstrates Carpaccio’s skill in landscape painting, but also provides a historic testament of the cityscape of early sixteenth-century Venice. The precise depiction of the Piazza San Marco includes the updated spire of the Clock Tower, a project that had been completed in 1515. The faithful view of Venice as seen from the island of San Giorgio Maggiore illustrates the Arsenale, the Lido, and boats in the lagoon.
Die fragile Schönheit der Gletscher – eine verschwindende Welt
Fondazione Dazio Grande, Rodi-Fiesso
Die niederländische Fotografin Judith Mijderwijk ist eine international ausgezeichnete Autodidaktin, leidenschaftliche Bergliebhaberin und wohnhaft in Österreich. Im Dazio Grande präsentiert sie ihre erste Einzelausstellung. Gezeigt werden rund 40 grossformatige Fotografien, die überwiegend in der Schweiz entstanden sind und die verborgene Schönheit sowie die fragile Pracht der alpinen Gletscher einfangen: von Eishöhlen in leuchtenden Blautönen über abstrakte Eisformationen bis hin zu hochalpinen Landschaften und künstlerischen Schwarzweissaufnahmen von Alpinistinnen und Alpinisten.
Judith Mijderwijk spezialisiert sich auf alpine Landschaften, Wildtiere sowie Porträts von Menschen und Tieren. Ihre Begeisterung für die Berge reicht bis in ihre Jugend zurück. Eine besondere Beziehung verbindet sie seit vielen Jahren mit dem Tessin. Umso mehr freut sie sich, ihre erste Einzelausstellung hier, im Dazio Grande, präsentieren zu dürfen.
Ihre Fotografien entstehen oft auf mehrtägigen Touren durch die Alpen. Die Anreise erfolgt meistens mit öffentlichen Verkehrsmitteln, anschliessend setzt sie ihre Wege zu Fuss fort, oft in abgelegene Regionen, wo sie, wenn möglich, auch im Biwak übernachtet, um das besondere Licht der Dämmerung einzufangen oder Tiere stundenlang in ihrer natürlichen Umgebung zu beobachten. Diese Nähe zur Natur prägt ihren Blick: Sie zeigt nicht nur das Grosse und Erhabene, sondern auch das Flüchtige, das sich dem schnellen Blick entzieht.
Mit dieser Serie möchte sie die oft verborgene Schönheit des Eises sichtbar machen: Gletscherwelten, die sich durch ihre Farben, Formen und Lichtstimmungen in einzigartiger Weise entfalten. Anstatt den Rückgang der Gletscher dramatisch zu inszenieren, legt sie den Fokus auf deren vergängliche Ästhetik und stille Präsenz.
„Die fragile Schönheit der Gletscher – eine verschwindende Welt“ ist nicht nur eine fotografische Hommage an die Eislandschaften, sie ist auch ein stiller Weckruf. Die Bilder laden zur Kontemplation ein – sie zeigen eine Welt von betörender Schönheit und zugleich eine, die sichtbar schwindet. Zerbrechlich sind nicht nur die Gletscher. Auch wir sind es, wenn sich die Natur zu schnell verändert. Auch unsere Welt kann verschwinden.
Ergänzt wird die Ausstellung durch erläuternde Texte zum fotografischen Prozess sowie zum Thema Klimawandel. Die Präsentation im Dazio Grande bildet den Auftakt einer geplanten Wanderausstellung, die an weiteren Orten in der Schweiz und später auch im Ausland zu sehen sein wird.
Questa è la 27° foto e appartiene al progetto 52 weeks of stories - 1° sett Luglio
Secondo tale Alfredo Panzini, la frase nacque come didascalia di una vignetta.
Nel 1861 i mazziniani avevano preparato a Torino una dimostrazione; ma il giorno fissato pioveva, e la dimostrazione non si fece.
Il "Pasquino" (una rivista satirica) pubblicò allora una vignetta di Casimiro Teja rappresentante tre mazziniani al riparo della pioggia dirotta e ci mise sotto la legenda: "Governo ladro, piove!". L'espressione divenne poi il motto della rivista.
Oggi l'espressione Piove, governo ladro! continua a essere adoperata come bonaria parodia degli slogan contro il potere costituito, colpevole di tutti i mali possibili e quindi anche di far piovere.
Secondo Marco Sereni l’espressione “piove, governo ladro!”, documentata anche con attestazioni letterarie («L’avevo detto io! Piove, governo ladro!», Antonio Gramsci, GDLI), si ripete comunemente per satireggiare l'abitudine diffusa di dare la colpa di ogni cosa al governo, talora anche come espressione di sfogo polemico.
Alcune ricerche fanno risalire anche l'espressione al fatto che durante la pesatura del mangime per gli animali, nei mercati, potesse piovere e quindi la pioggia, inzuppando gli stessi (come fieno, avena, semola, grano e quant'altro), li appesantisse notevolmente, aumentando quindi l'importo da pagare al momento della pesatura: perciò gli acquirenti usavano questa espressione.
La parola governo deriva, infatti, dall'espressione toscana "governare le bestie" nel significato di accudirle, pulirle e anche nutrirle.
La frase risalirebbe ai tempi del Granducato di Toscana.
Secondo Maurizio Mirtilli, il detto è dovuto al fatto che, in epoca in cui a Roma governava il Papato, dato che la pioggia la inviava il "Buon Dio", il contadino doveva, ad ogni pioggia, versare un contributo allo stato in quanto diretto rappresentante di Dio in terra.
L'origine del detto, in realtà, è molto più antica e se ne può trovare la fonte in Sant'Agostino, nel "Civitati Dei", in cui ad un certo punto l'autore scrive: Pluvia defit, causa Christiani sunt (Non piove, la colpa è dei cristiani).
L'abitudine di attribuire a qualcuno inviso la cattiva amministrazione del tempo atmosferico, quindi, è molto vecchia, e non limitata solo all'Italia.
Tanto per citare un esempio, in Tripolitania, intorno agli anni venti, quando l'impero ottomano aveva destituito il sultano Abdui Hamid, la colpa della siccità di quel paese era attribuita dal popolo ai funzionari turchi che erano andati a governare la Tripolitania stessa, e che erano considerati un vero e proprio ostacolo alla pioggia.
Quella più accreditata e che trova anche riferimenti storici sull’antefatto che ha poi portato al detto,risale al periodo feudale,durante il quale i signori, sempre bisognosi di soldi per le loro feste e furbi come pochi, avevano istituito una tassa da pagare nei periodi in cui cadeva la pioggia, in quanto i contadini raccoglievano l’acqua piovana per utilizzarla.
A quel tempo l’allocuzione venne usata più che in senso metaforico,come vera e propria imprecazione e infatti si deve a questo che il detto originale presenti il “Piove “seguito dalla virgola come constatazione e da “governo ladro” con l’esclamativo usato in senso rafforzativo.
Poi nell’accezione del parlato comune l’esclamativo finale, ha finito per sparire.
Di certo, perché documentata nelle ricerche dialettali, l’espressione “piove, governo ladro”, fu ripresa nell’Appennino ligure che separa il mare dalle valli piemontesi, ma in un periodo storico di molto successivo, quando i trasportatori di merci, e in particolare di sale, dovevano pagare il dazio per il transito sui valichi, e pagavando a peso; i funzionari, per farli passare, aspettavano che piovesse.
Infatti l’acqua bagnava i sacchi e li rendeva più pesanti, e così aumentava la tassa da pagare.
Di nuovo ”Piove, governo ladro”.
Sta di fatto che, di chiunque sia la “colpa”, io ho bisogno di un po’ di sole.
According to this Alfredo Panzini , the phrase originated as a caption of a cartoon.
In 1861 the followers of Mazzini in Turin had prepared a demonstration, but the appointed day it was raining, and the demonstration did not.
The "Pasquino" (a satirical magazine) published a cartoon then Casimiro Teja three representative Mazzini in the shelter of heavy rain and put under the legend: "Government thief, it's raining." The phrase became the motto of the magazine.
Today the term raining, Government thief! continues to be used as a good-natured parody of the slogans against the powers that be, guilty of all possible evils, and therefore also to make it rain.
According to Mark Sereni the expression "it's raining, Government thief!", With claims also documented literature ("I told you so! Rains, government thief!" Antonio Gramsci , GDLI), repeats commonly used to satirize popular to blame the government for everything, sometimes even as an expression of relief controversial.
Some research also trace the expression of the fact that during the weighing of feed for animals in markets, could rain and then rain, drenching them (such as hay, oats, bran, wheat and so on), they appesantisse significantly, thereby increasing the amount to be paid at the time of weighing: so buyers used this expression.
The word government is derived, in fact, Tuscany by the expression "rule of the beasts" in the sense of caring, clean and even feed them.
The phrase dates back to the times of the Grand Duchy of Tuscany.
According to Maurizio Blueberries , said it is due to the fact that, at a time when Rome ruled the papacy, as the rain sent the "Dear God", the farmer must, for each rain, pour a contribution to the state as direct representative of God on earth.
The origin of that, actually, is much older and you can find the source St. Augustine in the "City of God", where at one point the author writes: Pluvia defit Case sunt Christiani (no rain, the fault of the Christians).
The habit of attributing to someone disliked by the maladministration of the weather, therefore, is very old, and not limited only to Italy.
To cite an example, in Tripoli, the twenties, when the Ottoman Sultan Abdu Hamid was deposed, the blame for the drought in that country was attributed to Turkish officials by the people who went to Tripoli to govern itself, and who were considered a real barrier to rain.
That is also the most reliable and historical references that led to sull'antefatto said, dates back to the feudal period, during which the lords, always in need of money for their parties and smart like few others, had instituted a fee to be paid in periods when the rain was falling, as farmers harvested rainwater for use.
At that time the speech was used more than metaphorically, as a real curse, and this fact must be said that present the original "Rain" followed by a comma as a finding and "rogue government" with the exclamation used in the sense reinforcement.
Then nell'accezione common speech the final exclamation, he ended up disappearing.
Of course, because research documented in dialect, the term "rain, Government thief," was revived in the Ligurian Apennines, which separates the sea from the Piedmont valleys, but in a much later historical period, when the hauliers, and particular salt, had to pay the duty for transit passes, and pagavando weight; officials to let them pass, waiting for rain.
In fact, water soaked the bags and made them heavier, and so increased the fee to be paid.
Again "It's raining, Government thief."
The fact is that, whoever is the "guilt", I need a little 'sunshine.
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Sono terminati i restauri del Comune di Spilimbergo e della discesa alla Chiesina Dell'Ancona che si trova a metà costa scendendo dalla Piazza del Duomo verso il Tagliamento
Il titolo originario della chiesa, legato alla tradizione, è quella di Santa Sabbata (santa Sabida), una santa inesistente riconducibile a culti precristiani, legati ai corsi dei fiumi. Già nel 1597, però, l'Ancona viene dedicata alla Madonna della Mercede (venerata il 24 settembre) pregata come protettrice dalle insidie del guado del Tagliamento.
Oggi la chiesa, molto semplice e sobria, poggia su una pianta regolare e si presenta con un'unica aula. Esternamente è possibile ammirare un grazioso portichetto sorretto da cinque colonne e a metà dei lato sinistro si innalza il campanile. All'interno si trova un altare in marmi policromi e un affresco di fine Quattrocento raffigurante la Madonna con Bambino e due angíoletti.
In questo luogo si incontravano dunque mercanti e pellegrini, poiché sorgeva su un passaggio obbligato per attraversare il guado del Tagliamento, dopo aver pagato un dazio, raggiungere poi Gemona, Venzone e proseguire verso le Germanie.
Per coloro che entravano a Spilimbergo attraversato il guado, era il tempio dove pregare la Madonna per la protezione accordata e lo scampo dai pericoli, allora frequenti: perdita dei carico, ferite, annegamenti.
E' per questo motivo che qui venivano deposti gli ex voto, tavolette dipinte di gusto popolare, forma di ringraziamento e di devozione (ora raccolti e conservati nell'archivio parrocchiale).
Era dunque un punto d'incontro, di scambi commerciali e di preghiera.
Nel 1687 l'Ancona venne ampliata con una loggia, al fine di ospitare il numero sempre più grande di fedeli, che si riunivano.
Successivamente venne restaurata e ampliata più volte fino al 1968, quando venne inaugurata; nel 1976 venne distrutta dal terremoto e finalmente nel 1978 riacquistò l'antico splendore.
Per la sua bellezza e la sua posizione panoramica sul Tagliamento, l'Ancona è per antonomasia considerata a livello locale la chiesetta degli innamorati.
They finished the restoration of common descent of Spilimbergo and the Chiesina Dell'Ancona which is halfway down the coast from the Piazza del Duomo to the Tagliamento
The original title of the church, tied to tradition, especially St. Sabba (holy Sabido), a non-existent due to the holy pre-Christian cults, related to the courses of rivers. Already in 1597, however, the Ancona is dedicated to Our Lady of Ransom (September 24 honored) to pray as a protector from the perils of the ford of the Tagliamento.
Today the church, very simple and sober, is based on a regular plan and has a single classroom. Outside you can admire a graceful portico supported by five columns and half of the left side stands the bell tower. Inside is an altar in polychrome marble and a fresco depicting the late fifteenth century Madonna and Child with two angels.
In this place come together merchants and pilgrims, stood on as a necessary step to cross the ford of the Tagliamento, after paying a duty, then reach Gemona, Venzone and head toward the Germanies.
For those who entered in Spilimbergo crossed the ford, was the temple where he prayed to Our Lady to the protection afforded and the escape from danger, so frequent, loss of cargo, injuries, drownings.
E 'for this reason that here were placed the votive, painted tablets of popular taste, form of thanksgiving and devotion (now collected and preserved in the parish).
It was thus a meeting, trade and prayer.
In 1687 the Ancona was enlarged with a lodge, in order to accommodate the ever-growing number of faithful who gathered.
Later it was renovated and expanded several times until 1968, when it was inaugurated in 1976 was destroyed by an earthquake in 1978 and eventually regained its former splendor.
For its beauty and its scenic location on the Tagliamento, the Ancona is by definition considered local church of lovers.
Ca. 1995 steht der 1934 gebaute und 1976 modernisierte Peter Witt Wagen 1003 der ANM Neapel am ehemaligen Endpunkt der Linie 1 in der Schleife am Bahnhof Bagnoli Dazio. Der bis hierhin führende Streckenteil wurde 1998 stillgelegt. Der Wagen trägt die, Anfang der neunziger Jahre bei einigen Fahrzeugen als Reminiszenz an eine nie fertiggestellte Schnellstraßenbahn eingeführte Lackierung in weiß und blau. Daneben zwei Anfang der achtziger Jahre in Dienst gestellte Busse vom Typ Inbus U210 die vermutlich als Verstärkung zur Straßenbahn einen Teil der Linie 1 befahren. Foto: Sammlung des Verfassers
Porta Borsari is an ancient Roman gate in Verona, northern Italy.
It dates to the 1st century AD, though it was most likely built over a pre-existing gate from the 1st century BC. An inscription dating from emperor Gallienus' reign reports another reconstruction in 265 AD. The Via Postumia (which here became the decumanus maximus) passed through the gate, which was the city's main entrance and was therefore richly decorated. It also originally had an inner court, now disappeared.
The gate's Roman name was Porta Iovia, as it was located near a small temple dedicated to Jupiter lustralis. In the Middle Ages it was called Porta di San Zeno, while the current name derives from the guard soldiers which were paid the dazio (Latin bursarii).
The façade, in local white limestone, has two arches flanked by semi-columns with Corinthian capitals which supports entablature and pediment. In the upper part is a two-floor wall with twelve arched windows, some of which are included in small niches with triangular pediment.
(Wikipedia)
Porta Borsari, auch Porta dei Borsari, ist ein im 1. Jahrhundert v. Chr. errichtetes römisches Stadttor in der oberitalienischen Stadt Verona in Venetien.
Name
Während der Römerzeit trug das Tor den Namen Porta Iovia, in Anlehnung an einen nur wenige Meter entfernten Jupiter-Tempel. Der römische Name war bis zum Ende des 20. Jahrhunderts nicht bekannt und wurde 1986 bei Restaurierungsarbeiten in der Kirche San Procolo auf einem Votivaltar entdeckt und dem in Frage kommenden Stadttor zugeschrieben. Im Frühmittelalter nahm das Tor den Namen Porta San Zeno an. Der Name Porta Borsari geht dagegen auf das Spätmittelalter zurück, als an dem Tor die Abgaben von den bursarii kassiert wurden. Bursarii ist eine Kurzform für die Bezeichnung gabellieri con la borsa und ist im Sinne von Säckelwarte zu verstehen.
Geschichte
Das Stadttor wurde als Torburg und Teil der römischen Stadtmauern nach der Ernennung Veronas zum Municipium 49 v. Chr. erbaut. Es bildete zusammen mit der Porta Leoni eines der beiden Haupttore, die mit der Stadterweiterung Veronas innerhalb der Flussschleife auf der rechten Etschseite entstanden. Zwei weitere Torburgen standen auf der gegenüberliegenden Flussseite in Nähe der Ponte Pietra.
Die Torburg lag am südwestlichen Ende des zum Forum führenden decumanus maximus, einer der Stadtachsen der römischen Stadt Verona. Sie lag am Verlauf der bereits etwa hundert Jahre zuvor entstandenen Römerstraße Via Postumia, die über das Tor in die Stadt führte.
Das Bauwerk war zu Ende der römischen Republik als Teil des römischen Stadtbefestigung zunächst mit rein militärischen Aufgaben errichtet worden. Mit der Monumentalisierung der Stadt in der Anfangszeit der römischen Kaiserzeit wurde dem aus Mauerziegeln errichteten Bauwerk unter Kaiser Claudius 44 n. Chr. eine Prunkfassade aus weißem Kalkstein vorgesetzt. Zuvor war das Straßenniveau um einen Meter erhöht worden, um bei starken Regenfällen ein zu schnelles Abfließen des Regenwassers in das tiefer liegende Forum zu verhindern.
In der zweiten Hälfte des 3. Jahrhunderts wurde unter Kaiser Gallienus eine Inschrift auf der zur Via Postumia gewandten Fassade angebracht, mit der an den Bau der neuen Stadtmauern erinnert wurde. Innerhalb von acht Monaten waren vom 3. April bis zum 4. Dezember 265 unter der Bedrohung eines neuen Einfalls der Alamannen nach Oberitalien die Mauern des Gallienus in aller Eile errichtet worden. Die Inschrift sollte die Leistungen des Kaisers Gallienus unterstreichen. Wie archäologische Grabungen gezeigt haben, wurden die römischen Stadtmauern mit Ausnahme der neuen Ummauerung der Arena unter Gallienus allerdings allenfalls ausgebessert und ausgebaut. Die Propagandaschrift ersetzte eine dort vormals angebrachte Inschrift, die sorgfältig entfernt worden war und möglicherweise Hinweise auf den Bau des Tores beinhaltete, wie es beispielsweise an der Porta Leoni der Fall ist.
Unter dem Ostgotenkönig Theoderich wurde Ende des 5. Jahrhunderts eine zweite, höhere Stadtmauer in einem Abstand von 8 bis 10 Metern vor der ersten römischen Stadtmauer errichtet. Vor dem Burgtor der Porta Iovia entstand zum Schutz ein Avantcorps, dessen Reste bei Grabungen Ende der 1990er Jahre zum ersten Mal freigelegt wurden.
Der im 10. Jahrhundert mit mehreren Unterbrechungen in Verona amtierende Bischof Ratherius fertigte eine Zeichnung von Verona an, die als sogenannte Iconografia rateriana bekannt ist und auf der das Tor mit seinen flankierenden Türmen zu erkennen ist. Zu diesem Zeitpunkt trug das Tor bereits den Namen Porta San Zeno und muss noch funktionstüchtig gewesen sein, da Ratherius vor dem aufgebrachten Volk Schutz auf dem Colle San Pietro suchen musste, nachdem er das Tor schließen ließ, um damit die Abhaltung des Marktes am Sonntag zu unterbinden.
Mit dem durch die Expansion der Stadt nötigen Bau der neuen kommunalen Stadtmauern im 12. Jahrhundert verloren die unter den Römern und den Ostgoten errichtete Stadtbefestigung und damit auch die Porta Borsari langsam ihre militärische Bedeutung. In der Folge wurde das Tor weiter als Zollstation genutzt, so wie es bereits erstmals 1007 schriftlich festgehalten wurde. Ab dem 13. Jahrhundert unterstand die Erhebung der Abgaben an der Porta Borsari dem Bischof von Verona.
Aus den Skizzen, die Andrea Palladio in der zweiten Hälfte des 16. Jahrhunderts von der Prunkfassade der Porta Borsari anfertigte, geht nicht hervor, ob der dahinter liegende Mauerziegelbau der Torburg noch existierte oder, wie viele andere römische Bauten der Stadt, bereits abgetragen worden war. Zumindest ist auf den Palladio zugeschriebenen Zeichnungen lediglich die Steinfassade zu sehen. Auch andere Architekten und Künstler der Renaissance wie Baldassare Peruzzi, Sebastiano Serlio und Giovanni Caroto studierten das Bauwerk der Antike, auch wenn Serlio es als „barbarisch“ bezeichnete und das Tor in seinem Werk nicht berücksichtigte.
1860 wurden in einer Entfernung von etwa 18 Metern von der Torfassade bei Kanalisationsarbeiten die Ziegelfundamente des Tores auf der Stadtseite freigelegt. Auf der Grundlage dieser Entdeckungen arbeitete erstmals der deutsche Archäologe Heinz Kähler in den 1930er Jahren den Grundriss des Stadttores aus.
In den 1970er Jahren wurde die erhalten gebliebene Fassade erstmals restauriert. Weitere Restaurierungen folgten in den Jahren darauf. Bei der Restaurierung 1981/82 wurden unter anderem Teile der Inschrift freigelegt.
Beschreibung
Die Porta Iovia war ähnlich aufgebaut wie die Porta Leoni. Im Gegensatz zum quadratischen Grundriss der Porta Leoni war sie jedoch rechteckig angelegt worden. Die Torburg bestand aus dem rechteckigen, dreistöckigen Hauptgebäude mit den in Richtung Stadt und Land gewandten Torseiten, die jeweils über zwei Toröffnungen verfügten. Dem Hauptgebäude, in dem die Wachmannschaft untergebracht war, standen an den Seiten auf der Landseite zwei Wachtürme vor, die das Hauptgebäude überragten. Von der ursprünglichen Anlage ist lediglich die nachträglich auf der Landseite angebrachte Prunkfassade aus weißem Kalkstein erhalten, der im nördlich von Verona liegenden Valpantena gebrochen wurde.
Die zwei Torbögen der Fassade sind in zwei Ädikulä eingebunden, die jeweils von zwei Halbsäulen mit korinthischen Kapitellen eingerahmt sind. Die zwei darüber liegenden Stockwerke, die ebenfalls mit Ädikulä geschmückt sind, besitzen jeweils sechs Bogenfenster. Kleinere Mauerlöcher weisen darauf hin, dass die Fassade mit bronzenen oder vergoldeten Dekorationen geschmückt war. Die Rückseite des Tores ist dagegen schmucklos gehalten und nur grob bearbeitet, da sie, nur von einem kleinen Spalt getrennt, unmittelbar an das Torgebäude angrenzte.
Die erhalten gebliebene Steinfassade ist insgesamt 13,80 m, der erste Stock 3,90 m und der zweite 3,30 m hoch. Die beiden Toröffnungen besitzen jeweils eine Höhe von 3,90 m und eine Breite von 3,60 m.[19] Das Straßenniveau entspricht demjenigen aus der Römerzeit, so wie es bei der Errichtung der Prunkfassade 44 n. Chr. bestand.
Unmittelbar vor der Porta Borsari steht auf der linken Seite ein römischer Gedenkstein, der an eine mit 13 Jahren verstorbene Petronia Tertulla, Tochter des Gaius, erinnert.
Inschrift Architrav
COLONIA AVGVSTA VERONA NOVA GALLIENIANA VALERIANO II ET
LVCILIO CO(N)SS(VLIBVS) MVRI VERONENSIVM FABRICATI EX DIE III NONIS APRILIVM
DEDICATI PR(IDIE) NON(IS) DEC(EMBRIS) IVBENTE SANCTISSIMO GALLIENO AVG(VSTO) N(OSTRO)
INSISTENTE AVR(ELIO) MARCELLINO V(IRO) P(ERFECTISSIMO) DVC(E) DVC(VM) CVRANTE IVL(IO) MARCELLINO V(IRO) E(GREGIO)
Die Inschrift wurde ab dem 15. Jahrhundert mehrmals rekonstruiert. Die definitive Fassung stammt von Theodor Mommsen vom Ende der 19. Jahrhunderts. Allerdings blieben Mommsen einige Buchstaben auf der ganz rechten Seite verborgen, da sie von der Mauer des angrenzenden Gebäudes verdeckt waren. Erst nachdem bei Restaurierungsarbeiten Anfang der 1980er Jahre die letzten Buchstaben freigelegt worden waren, konnte die Inschrift vervollständigt werden.
Die Inschrift war ursprünglich in bronzenen oder vergoldeten Lettern an der Fassade angebracht. Neben Kaiser Gallienus sind zwei weitere Personen erwähnt, die mit der Ausführung der Arbeiten betraut waren, Aurelius und Iulius Marcellinus.
(Wikipedia)
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1. Firenze by me #3, 2. Ready, 3. Thin house, 4. Lights & horses, 5. Ready to go downhill (or not?), 6. Late autumn sun, 7. Arriving, 8. Here, there and everywhere, 9. A sea of flowers, 10. Milan, Italy, Europe, angelocesare, 11. The dome on the hill, 12. The deep valley, 13. The day after, 14. Loved red, 15. Firenze by me #2, 16. Church and leaves, 17. The last light, 18. Gate of another land, 19. A real place, 20. Milan's lights n5, 21. (S)low resolution, 22. Firenze by me #1 (the beginning), 23. Light fight, 24. Sdraio, 25. I want to stay here, 26. Exploding, 27. Home's nuances, 28. A point of view in the sun, 29. Desert beach, 30. Portofino by me (another real fantasy), 31. Gaudì and tempest fighters, I suppose, 32. Walking with the ghosts, 33. Volumes and ages, 34. Howling heights, 35. Walking in Scotland, 36. Flying, 37. Portofino, 38. Roof ridges and sun, 39. Spring tale, 40. My Gallery, 41. Moon's flowers, 42. 7colours, 43. Clouds (finally), 44. Seamoon, 45. Hard city sunset, 46. Mountain colours, 47. Inside: fire, 48. Sun and gallery, 49. The old man and the sea, 50. Scottish sunrise, 51. Architectural thunderstorm, 52. Shine on you crazy diamond, 53. Flashback, 54. Waiting for an improbable attack, 55. Night water, 56. First (green) glance, 57. A point of view: Genova [n 2], 58. Hard snow #6, 59. Ripe grapes, 60. Rainy night n° 2, 61. Dream #5, 62. About photographing, 63. Run light shot, 64. Aimless walk, 65. Buon Natale, 66. Not a dream, 67. flickr.com/photos/26849183@N00/1905082272/, 68. Night in Paris #1, 69. Walking in Milano night #4, 70. Rainy night n° 3, 71. Cloud's rays, 72. To sleep or to eat?, 73. Imprisoned fire, 74. Only dew, 75. A dream? [top of the hill], 76. Light trough, 77. Sunflowers number one, 78. Top of Gaudì, 79. Past is now, 80. Stormy afternoon, 81. The flag #, 82. An orange point of view, 83. Playing with the year, 84. Autumn table, 85. Sleepy aftrnoon, 86. Firenze by me #5 (the end), 87. Blue notes (fire), 88. To open or not to open, 89. Colours of an ordinary sunset, 90. Far away, 91. Rays from red to green, 92. Harrods: Sale, 93. Dream #1, 94. Reds, 95. Genova #2, 96. Mouth in Milano, 97. Break, 98. Diagonal hill, 99. Waiting, 100. Last rest, 101. Whiting, 102. Outside inside, 103. The scent of colours, 104. Glass on fire, 105. Winter in London, 106. At work, 107. Red and house, 108. Radici, 109. My favourite light, 110. Afterdream, 111. Trees that I know, 112. The Champions!, 113. A good wall, 114. Tango!, 115. Te digo adiós!, 116. Graz, old town, 117. Second choice, 118. After night #1 (6:55 AM), 119. Ready for the night, 120. Lights #2, 121. Light after storm, 122. Suddenly, Last Summer, 123. A grape of sun, 124. Snow in London, 125. Snowy sunset, 126. Rainy day in Ireland, 127. That's what I see [1], 128. Ghost wings, 129. Red waves, 130. A night, 131. Sunset cocktail, 132. Sun, 133. Duomo, 134. Portofino reloaded in winter, 135. Against the light #1, 136. Over the fog, 137. Castle light, 138. Lonely night, 139. September nightmare, 140. Light here!, 141. Back in the rain, 142. Another time machine, 143. Dazio (domus rustica), 144. Back home, 145. Leap in the clouds, 146. Cloudy flag, 147. Late afternoon, 148. Burning, 149. Cutted dream, 150. A bicycle and the Ocean, 151. Italy! #4, 152. Nowhere night, 153. No destination, 154. Ocean echoes, 155. Watery night, 156. Summer incubus, 157. Snow wood, 158. Nothing else matters, 159. Lights #1, 160. Pink heart in gray