The Tricycle and the Camera: New Technologies for Self-Determination

Starting in the late 1870s, the leisure opportunities of a growing body of affluent middle-class photographers were expanded by the development and mass production of new photography and transport technologies: the dry-plate camera and three- or four-wheeled self-propelled machines (tricycles or quadricycles). While the former had removed the need to attend to the glass-plate immediately before and after exposure, as was the case with the wet collodion process, the latter enabled a new experience of mobility as an alternative to

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Cruise Liners, Crypts and the Paradox of Venice

by Helen Kingstone (Leeds Trinity University / University of Leeds) Standing in the majestic Council Chamber of the Doge’s Palace, you’d be forgiven for thinking that Venice was still thriving as a Renaissance maritime empire. But suddenly a shadow falls over the room. The view from the window is obliterated, and filled instead with a different image: the huge white side of a cruise liner. This is a common occurrence in Venice, whose population is more than doubled each day

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John Addington Symonds, literary tourism and the colour of Venetian canals

Amber K. Regis (University of Sheffield) In the weeks leading up to the recent NAVSA/BAVS/AVSA conference, hosted by Ca’ Foscari University in Venice, I read the following passage from John Addington Symonds’s The Fine Arts, the third volume in his Renaissance in Italy series: Venice, with her pavement of liquid chrysoprase, with her palaces of porphyry and marble, her frescoed facades, her quays and squares aglow with the costumes of the Levant, her lagoons afloat with the galleys of all

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