Venice - Santa Maria della Salute

Starting in the Summer of 1629, a wave of the plague assaulted Venice, and over the next two years killed nearly a third of the population. Repeated displays of the sacrament, as well as prayers and processions to churches dedicated to San Rocco and San Lorenzo Giustiniani, had failed to stall the continuation of the epidemic. Echoing the architectural response to a prior assault of the plague (1575–76), when Palladio was asked to design the picturesque il Redentore dedicated to Christ the Redeemer, the Venetian Senate in October 22, 1630, decreed that a new church would be built. It was not to be dedicated to a mere "plague" or patron saint, but to the Virgin Mary, who for many reasons was thought to be a protector of the Republic.

It was also decided that the Senate would visit the church yearly, on 21 November, the Feast of the Presentation of the Virgin, in a celebration known as the Festa della Madonna della Salute, where the city's officials parade from San Marco to the Salute in the sestieri Dorsoduro for a service in gratitude for deliverance from the plague. This involved crossing the Grand Canal on a specially constructed pontoon bridge and is still a major event in Venice.

The desire to create a suitable monument at a place that allows for an easy processional access from Piazza San Marco, led senators to select the present site from among 8 potential locations. The Salute, emblematic of the city's piety, stands adjacent to the rusticated single story customs house or Dogana da Mar, the emblem of its maritime commerce, and near the civic center of the city. A dispute with the patriarch, Rome's representative in Venice and owner of the church and seminary at the site, was overcome, and razing of some of the buildings began by 1631. Likely, the diplomat Sarpi and Doge Nicolo Contarini shared the intent to link church to an order less-associated with the Papacy, and ultimately the Somascan Fathers, an order founded near Bergamo by a Venetian noble, were chosen.

A competition was held to select the building. Of the eleven submission (including designs by Alessandro Varotari, Matteo Ignoli, and Berteo Belli), only two were chosen for the final round. The architect Baldassare Longhena was selected to design the new church. It was finally completed in 1681, the year before Longhena's death. The other competitive, but losing, design was by Antonio Smeraldi (il Fracao) and Zambattista Rubertini. Of the proposals still extant, Belli's and Smeraldi's original plans were a conventional counter-reformation linear churches, resembling Palladio's Redentore and San Giorgio Maggiore; while Varotari's was a sketchy geometrical abstraction. Longhena's proposal was a concrete architectural plan, detailing the structure and costs, although also bold in design, he wrote:

"I have created a church in the form of a rotunda, a work of new invention, not built in Venice, a work very worthy and desired by many. This church, having the mystery of its dedication, being dedicated to the Blessed Virgin, made me think, with what little talent God has bestowed upon me of building the church in the … shape of a crown."

Later in a memorandum, he wrote:

"Firstly, it is a virgin work, never before seen, curious, worthy and beautiful, made in the form of a round monument that has never been seen, nor ever before invented, neither altogether, nor in part, in other churches in this most serene city, just as my competitor (il Fracao) has done for his own advantage, being poor in invention"Ultimately the Salute, while novel in many ways, still breathes the influence of Palladian classicism and the domes in Venice. The Venetian Senate voted 66 in favor, 29 against with 2 abstentions to authorize the designs of the 26 year old Longhena.

Venice - Academia

Antonio Lucio Vivaldi (March 4, 1678 – July 28, 1741), nicknamed il Prete Rosso ("The Red Priest"), was a Venetian priest and Baroque music composer, as well as a famous virtuoso violinist; he was born and raised in the Republic of Venice. The Four Seasons, a series of four violin concerti, is his best-known work and a highly popular Baroque piece.

This is the Academy of Venice.

Venice - Ponte Rialto

The first dry crossing of the Grand Canal was a pontoon bridge built in 1181 by Nicolò Barattieri. It was called the Ponte della Moneta, presumably because of the mint that stood near its eastern entrance.

The development and importance of the Rialto market on the eastern bank increased traffic on the floating bridge. So it was replaced around 1250 by a wooden bridge. This structure had two inclined ramps meeting at a movable central section, that could be raised to allow the passage of tall ships. The connection with the market eventually led to a change of name for the bridge. During the first half of the 15th century two rows of shops were built along the sides of the bridge. The rents brought an income to the State Treasury, which helped maintain the bridge.Maintenance was vital for the timber bridge. It was partly burnt in the revolt led by Bajamonte Tiepolo in 1310. In 1444 it collapsed under the weight of a crowd watching a boat parade and it collapsed again in 1524.

The idea of rebuilding the bridge in stone was first proposed in 1503, and several projects were considered over the following decades. The Venetian Senate appointed three noble provveditori to oversee a design competition for the rebuilding of the bridge, which included Jacopo Foscarini, Alvise Zorzi, and Marcantonio Barbaro of the noble Barbaro family. In 1551 the provveditori requested proposals for the renewal of the Rialto Bridge, and plans were offered by famous architects such as Jacopo Sansovino, Palladio and Vignola, all of which involved a Classical approach with several arches, officially judged inappropriate to the situation. Even Michelangelo was considered to design the bridge.

The present stone bridge, a single span, was designed by Antonio da Ponte, and completed in 1591. It is remarkably similar to the wooden bridge it succeeded. Two inclined ramps lead up to a central portico. On either side of the portico the covered ramps carry rows of shops. The engineering of the bridge was considered so audacious that architect Vincenzo Scamozzi predicted future ruin. The bridge has defied its critics to become one of the architectural icons of Venice.

Poiana Brasov - team building

It is the perfect place to take pictures of the squirrels or lions whose masters allow you to touch and cares them in change of the price or to admire and even buy precious stones matching each zodiacal sign. Touching them makes you feel their energy and vibration.

If the weather permits you, climb the mountain to 1200 metres or go by sky lift. Souvenirs hunters can find all kind of artcrafts in the outdoor fair: hand made fabrics, wools, still-life pictures and wooden artcrafts.

Each hotel has a restaurant but you would rather go to „Crama Haiducilot”(Outlaw’s wine cellar), or „Sura Dacilor”(Dacians’Shed), with hunting profile and an atmosphere to initiate you in a time journey to our ancestors.

Of course you can visit the surroundings, climb down to Brasov, visit Peles Castle or Bran Castle. The night life is also challenging in Poiana as well as in Brasov.

You can attend diferent parties at the hotels by the side of the pool or discos like „Capra Neagra”(The Black Goat). The opportunities are endless and the success of your holiday is guaranteed, regardless your options.