venetian arsenal , gouvia
the venetian arsenal at gouvia: address, the venetian arsenal at gouvia reviews: 3. 5 / 5
in historical gouvia, at the end of the marina, is the venetian dockyard. (venetian shipyards) .
venetian arsenal. (1778). gouvia, corfu, greece. 2017 | v' s adventures (my travels) | pinterest | gouvia corfu, corfu and corfu greece
remains of the venetian shipyard at gouvia, corfù. mark ryckaert, wikimedia commons, 2012 .
view of small piazza and towers off famous venetian arsenal - complex of former shipyards and armories, currently naval base and museum .
the arsenal in gouvia was to be used for ship repairs during the winter, after each fleet had returned from their annual campaign during peacetime .
the venetian arsenal at gouvia is a shipyard built by the venetians during their rule of corfu on the west side of what used to be called govino bay, the current location of the modern village of gouvia. corfu is a greek island in the ionian sea. it is the second largest of the ionian islands
venice, italy: view of towers and bridge of famous venetian arsenal - complex of former shipyards and armories, currently naval base and museum .
arsenale, venice, italy - entrance to the naval arsenal with clock towers and and tourists crossing bridge over rio de l' arsenal canal. historic
in the early years, the venetian ships of the serenissima docked in mandraki .
it was selected for this purpose, the bay of gouvia, seven kilometers northwest of the city .
one of the canals in venice and the arsenal tower in the distance. italy
consequently, the operations of the yard in gouvia limited to basic maintenance, such as cleaning and caulking .
arsenal with the army - historical museum, austria, vienna, 03. , vienna
a display of cannons at royal arsenal riverside with modern residential building in the background .
display of cannons at royal arsenal riverside, with modern residential building in the background .
deutsches zeughaus - arsenal. unter den linden, berlin, germany. german historical museum
at gouvia landed the turkish army for the first time on august 29, 1537 under the command of choureintin barbarossa .
spend a day walking from gouvia village past the venetian boatyards into the harbour and then on to the marina. lovely coffee bar in the marina. sit in the sun watching the millionares and billionares on their yachts
corridor at the old venetian shipyards (neoria) in chania town, crete island, greece .
the bay of gouvia was last used by a naval ship in 1814, when a british corvette anchored in its waters .
arsenal am pfaffenteich and st. paul' s church, schwerin, mecklenburg - vorpommern, germany
the arsenal stadium, affectionately know as highbury, viewed here after the dispersal to the emirates stadium .
the arc in the old stone wall of the venetian fortress on the small mediterranean island spinalonga near crete .
lemgo historical town centre armory medieval arsenal building st. nicolai church spires 15th century late gothic architecture travel tourism scenic
the signs provide a nice walk, but don' t expect to be wowed. i would only go here if i was in gouvia anyway .
the arc in the old stone wall of the venetian fortress and the stairs on the small mediterranean island spinalonga near crete .
the practice of venetian masters, who participated in the construction of the arsenal, to enter the buildings with his initials and coats of arms, were recorded in the late 18th century, the writings of the french consul in corfu saint - sauveur .
enjoyed the walk around marina and plenty of boats. some nice shops and plenty of places to eat. there is also a swimming pool, but near the venetian arsenal which is over grown but well worth a look, there is a lovely beach .
the arsenal in venice, italy in a bright sunny day, with a colorful reflections over the water surface in the chanel .
berlin new extension building, architect i m pei, german historical museum, arsenal, unter den linden, berlin mitte. berlin, ger
part of armory building foundations on arsenal square in harper' s ferry national historic park, jefferson county, west virginia, united states .
the venetians concentrated all their naval defenses on the island of corfù (which they had held since 1396) in 1715 and prepared for a rigorous defense. the venetian arsenal prepared several new galleys. schulenburg recruited several tens of thousands of troops. the fleet sailed early in february 1716 .
on november 13 a small russian contingent made landing and managed to secure a small enclave in the area of ​​gouvia, where installed with cannons which fired against the fortresses of the island .
we looked at the building as we stayed in gouvia. it was a short visit as tigers not much to see but it was more interesting reading the history surrounding it before revisiting it .
in the last years of venetian, facilities were neglected and the entrance of the bay had become problematic due to deposition of large volumes of sand by currents and winds southeast .
salt lake city, utah - june 28, 2017: utah state capitol building west side. in 1888, the city donated the land, called arsenal hill, to the utah terr
where
zbm
is probably the name one of the captains of ships built the arsenal and added their coat of arms and the initials of the buildings, and the year is 1778 .
nice place to visit very picturesque. the arsenal is a little over grown but you can still get around okay to take photos there is a plaque that provides historical information. only a short walk from the village
the motivation for juditha triumphans —with regard to both its substance and its timing—was inseparable with the political agenda of the venetian republic which, in league with the papacy and the holy roman empire, was engaged in an all - out effort to turn back the advances of the ottomans in and near the balkans. the venetians had lost the island of crete at the end of the 21 - year - long war of candia (heraclion) in 1669 .
casetti' s text can be read either as the script for a pep rally or as a symbolic re - enactment of venetian triumph over ottoman troops. their leader holofernes is an adversary judith vanquishes by seduction. she first lures him to her tent, then withstands his advances long enough to ply him with drink (early in part two of the oratorio), and then beheads him (an event that was the subject of countless depictions in the arts of the time). christianity prevails, fulfilling the main objective of the work, but sustains its militancy even in victory .
more than any of his other works, vivaldi' s only surviving oratorio, juditha triumphans, was single - mindedly focused on promoting the image of the venetian republic in a military alliance involving austria and the papacy. in synchrony with the launch of several new warships and a major battle for the defense of the adriatic island of corfù, the importance of juditha triumphans rested entirely on an analogy. the bethulian widow judith represents the venice republic, her nemisis holofernes the ottomans. at the time the ottoman army was menacing parts of the austro - hungarian empire on land and the venice dwindling maritime republic on the adriatic .
after beheading holofernes, judith is able to declare peace (“vivat in pace, et pax regnet sincera”) in the little - used key of e major. vagaus sings a lullaby, “umbrae carae, aurae adoratae” (“beloved shadows, adored breezes”) in which recorders provide the obbligato, as the sweetness of the moment is savored. reflections continue with the prayer - like recitative “summe astrorum creator” (“great creator of the stars”) and judith’s aria “in somno profundo” (“in deep sleep”). these numbers are accompanied by a consort of viols (four viols and a violone). (viols were available through benefactions to the venetian conservatories. )
juditha is the only oratorio by vivaldi that survives, but written evidence documents a long history for the genre in venice' s four orphanage - conservatories (ospedali). francesco gasparini (1668 - 1727), vivaldi' s first superior there, was among the oratorio composers, as were carlo francesco pollarolo (c. 1653 - 1723) at the incurabili, and the slightly earlier figures giovanni legrenzi (1626 - 1690) and carlo pallavicino (c. 1630 - 1688), who served respectively at the mendicanti and ospedaletto. it was the usual practice of the venetian ospedali to present oratorios on the sunday afternoons of advent and lent (the penitential seasons preceding christmas and easter) .
angelokastro or the castle of the angel is a byzantine castle, located at the top of the highest peak of the island' s shoreline in the northwest coast near paleokastritsa and built on rocky terrain. it stands 305m on a steep cliff above the sea and surveys corfu town and the mountains of mainland greece to the southeast and a wide area of corfu toward the northeast and northwest. angelokastro is one of the most important fortified complexes of corfu. it was an acropolis which surveyed the region all the way to the southern adriatic and presented a formidable strategic vantage point to the occupant of the castle. angelokastro is considered one of the most imposing architectural remains in the ionian islands along with kassiopi castle, gardiki castle and the two venetian fortresses of corfu city, the citadel and the new fort .
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was looking forward to seeing this but it looked as if it was not attended in any way. they were ...
bit disappointed to see that the grass was left uncut around this interesting building, so unable ...
was looking forward to seeing this but it looked as if it was not attended in any way. they were starting to cut the long grass but something this important i thought would be maintained better. i thought wrong - disappointed !
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very interesting looking place, but surrounds were overgrown and a bit dirty. couldn' t find much information about it .
not far off the main path and well sign posted, this is definitely worth a visit - there' s no signage or detail once there but use your phone and take some photos well worth the few mins walk off the main path. the modern marina ...
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mykonos town or “chora” is the main town on the island of mykonos and the place where glamour meets simplicity. wonder around its small narrow streets and admire the traditional houses with…
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soon, however, revealed the need for greater military port with spacious warehouses and dry dock .
the depth in the area is 4 - 5 orgyies and the narrow mouth of the inlet needs no defense works .
the turks, having destroyed what they found in the middle corfu, went to the city and unsuccessfully besieged the old fortress .
and the second time in corfu attacked the turks, in 1716, landed in the same place .
democrats french have used the neorion facilities, while in 1798 there anchored russo - turkish war .
the siege of the russians to occupy corfu began on november 4, 1798, but the attackers decided to wait on the turkish aid before attempting a landing .
it concerns the creation of the french seaplane base in 1916 as well as the disembarkation of serbs .
the years of interwar, french seaplanes were carrying mail and passengers again using the area until the beginning of the entry of the second world war .
after recent renovation in 2015, we orienteted entirely to provide high benefits to our guests. the large space inside the room is very important for all of us, which is why we have reduced the number of our rooms, in order to grow their spaces. double rooms in maltezos hotel are very comfortable with brand new furniture and bathroom. request a room with a garden view .
fully renovated triple room with new furniture and brand new bathroom. ask for a room with view to the pool or to thegarden. ideal for family, with a double bed and a single. feel free to ask our beby cot, the room space is very comfortable .
room designed especially for disabled individuals needs. wide doors, spacious and comfortable room. bathroom - toilet with special specifications. ideal room to create a friendly and comfortable environment for disabled and their companionship. the room is located on the ground floor near reception. easy wheelchair access to the room from parking area without requiring ascent because of specially designed ramps .
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the achillion palace comprises one of the most famous royal mansions in europe and it is located about 10 kilometres from corfu town, at gastouri. it was built in 1890 by the italian architects raffaele caritto and antonio landi on the order of elisabeth, the empress of austria, better known as sissy. it is one of the most significant architectural and historical buildings on the island of corfu. the palace is dedicated to achilles, after whom it was named, and among other statues inspired by greek mythology that decorate the mansion' s leafy gardens, there is the striking marble statue of dying achilles. the statue depicts the last moments of the greek hero of the trojan war after being struck by an arrow on the heel of his foot, his famous weak spot. in the interior neoclassical halls of the mansion there are numerous important paintings and artistic decorations from the 19th century adding to the elegant atmosphere of the palace. its densely wooded grounds and elevated position offer the visitor charming views of the sea and the surrounding hills and valleys. a relaxing stroll in the well - tended gardens reveals colourful exotic flowers, palm trees and aromatic bougainvilleas. + 30 26610 56245 < a data - cke - saved - href =
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corfu gallery is the first private institution exhibiting corfiot art. it was established in order to house and exhibit the private collection of the corfiot engineer and collector, michail aggelos vradis, with paintings from the 19th, 20th and 21th century. corfiot painters and artists who lived in corfu and have been inspired by its beauty have found their new, permanent place. the gallery offers the possibility to accommodate permanent and periodical art exhibitions and cultural events. working in accordance with the municipal art gallery of corfu, which has a collection of works dating from the 16th century up to the and of 20th, we hope to give and provide a full scope of art in corfu. urltoken
isle of vidos is a small island (less than a kilometre in diameter) at the mouth of the port of corfu town. the island can be visited during summer for a very reasonable price with a “kaiki” from the port of corfu. leaving opposite the bp station, the little ferry runs on the whole hour and returns every half from the island. once you arrive on the island you can choose to have a refreshment or coffee at the terrace next to the little port or start with a 45minute walk, following a trail bordered by pine trees, mainly next to the sea, passing from the serbian mausoleum. during your stay on the island your will see wild rabbits and pheasants. two isolated beaches and a tavern from where you can enjoy a beautiful view over the old town of corfu make this excursion complete .
the municipal gallery of corfu has been in operation since 1978 in a building which is a legasy of the dalietos family. when the gallery became a leggaly - recognized public institution in 1991, an effort was made to make its collection, mainly constituted by donated works, more widely known. among the most important collections are those of the samartzis collection (42 works), the aglaia papa (23 works) and philippos makotsis (12 works) collections; while there are also two works donated by nikolaos ventouras. the greater part of the collection of the municipal gallery of corfu consists of works by 19th - century corfiot painters (haralambos pachis, pavlos prossalendis the younger, angelos giallinas, vicentios boccaciampis, s. skarvelis, lyk. koyevinas, g. samartxis); this is the period which produces some of the most representative painters of the ionian islands. urltoken
the iconic rock of corfu comprises a natural museum of virgin vegetation and it is one of the most popular and recognised monuments of the island. pontikonissi, which means the mouse island, is situated at the chalikiopoulos lagoon, across the international airport of corfu, and it can be reached only by boats leaving from kanoni and the monastery of vlacherna, as well as from perama. its name refers to its tiny size and the only building that stands within this leafy islet is the byzantine church of pantokrator. with only exception the 6th of august, when is the celebration of the monastery, people are not allowed to reach the islet as it is strictly protected in order to maintain its unique natural landscape. during the rest days of the year, people can arrange a short visit at the rock of pontikonissi, but they are permitted to explore only specific parts of it. according to homer, poseidon turned the islet into stone during the great storm that led the legendary odysseus to the emerald island, corfu, his last destination before his final return to ithaka. after this, poseidon transformed the stoned islet into a green - covered paradise .
the old and the new fortress both at one side of the old centre of corfu town, once connected via a wall, were built by the venetians during the 15th and 16th century to defend the town from the turks. today you can visit both fortresses; it’s worth climbing to the fop for amazing views over the town and across the sea to the greek mainland and albania. the old fortress has a museum and there is a wonderful located café where you can enjoy the quiet atmosphere overlooking the garitsa bay .
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the kremlin (st. nicholas (nikolskaya) tower) and the state historical museum of russia at the red square in moscow, russia
artemisia gentileschi' s depiction for the medici court, florence, of judith beheading holofernes (c. 1620 - 21). uffizzi gallery, florence, via the google cultural institute, 2012 .
antonio corradini' s monument (1716) to johann matthias von schulenburg on the island of corfù. photograph by tasoskesaris, wikimedia commons, 2010 .
one is aware from the first few notes that this is a staunchly militaristic work: the trumpets greet us almost brazenly, the chorus reminds us at intervals that this is a work with the purpose, and it all ends as militantly as it began. yet juditha triumphans is full of tender, affective writing. abra is a fictional
nurse
who demurely follows the widowed bethulian queen judith on her murderous mission. vivaldi heightens attention to the work' s most significant moments through the use of a series of changing instrumental obbligati. in the architecture of the whole, instrumental color plays a significant role in delineating changes of mood and also in symbolizing diverse universal conceptions - - the passage of time (theorboes), fidelity (the oboe), rusticity (the recorder), and so forth .
giacomo cassetti derived the tale from the apocrypha. he specified its genre as a
sacred military oratorio .
the seriousness of its intention was reinforced through its dedication to johann matthias (1661 - 1747), count of schulenburg, the marshal of the forces designated to defend corfù, the republic' s last stronghold of its diminishing maritime empire .
the defense of corfù peaked between july 25 and august 20, 1716. venice prevailed. the crews drifted back to the lagoon in november. upon their arrival they were required to spend a month in quarantine, from which they emerged at staggered points throughout december. schulenburg himself was freed on the third day of january 1717, a sunday. this is the likely date for the performance of juditha triumphans. the venetians probably anticipated an advent performance when the libretto was published, but since the civic year was not advanced until march 1, our dating of january 3, 1717 fell within their year 1716 .
oratorios given in the ospedali were sung in latin, although in most other institutions throughout italy they were sung in the vernacular language. among settings of the same story the giuditta of alessandro scarlatti (1660 - 1725), composed in 1693 or 1694 for the robust resources of cardinal pietro ottoboni (1667 - 1740 for performance in rome’s palazzo della cancelleria is particularly noted .
among oratorios survived only by anonymous texts, a shorter, simpler la giuditta was given in 1713 at the no longer extant church of san leonardo, padua, in 1713 under the auspices of laura d' este, a member of the congregation of the santissima annonziata. this giuditta had roles only for judith, ozias, holofernes, and his unnamed captain. holofernes dominanted the work, opening it with a vehement denunciation of jews. judith sang only twice. it was not, therefore, a work of the same ambitions as vivaldi' s, nor did it have any immediate pertinence to political affairs. giacomo cassetti, the librettist of the vivaldi work, had at least two other oratorios to his credit. both were given padua (1702, 1708). they too were less ambitious works than this one .
in such a simplistic account the characters of judith and holofernes are easily contrasted. the righteous widow judith is intent on defending the faith (i. e. , venice), and her arias define her as forthright and determined. music of sympathy and quiet persuasion falls to abra. by turns we find holofernes, the ottoman aggressor, to be angry, seductive, drunk, and betrayed. the head priest ozias and the head eunuch vagaus serve their masters in conventional but musically persuasive ways .
few works by vivaldi exhibit such a close coupling of political motive, text, and music. his imitations of janissary bands permeate the surface, but at a deeper level most of the woodwinds serve to underscore a fleeting sentiment or turn of events .
all of the unusual instruments play a symbolic role in the soundscape of the overall narrative. vivaldi cycles through them as the story unfolds. juditha begins and ends with substantial choruses but was not provided with an opening sinfonia. this seems to have been intentional: vivaldi wanted to get to action immediately. holofernes opens the dialogue with his aria
nil arma, nil bella
(
no arms, no war
). each character in turn is introduced. the assyrian soldiers’ chorus “o quam vaga” (“how beautiful…”) signals the initiation of a plan of action. it emphasizes dissonant intervals that were associated at the time with the middle east. the descending tetrachord in the bass had long been emblematic of travail .
judith plots her strategy in “quanto magis generosa” (“how generous…”), an aria in the unusual key of eb major. its obbligato for viola d’amore, a bowed instrument with six regular and six sympathetic strings. the ethereal response they produced was suggestive of emotional twittering. they move holofernes enough for him to take judith’s bait, as he sings lovingly in “sede, o cara” (“come sit, my beloved”) .
vagaus summons his assyrian troops in the aria “o servi volate” (“o servants, be quick”). the restriction of the accompaniment to theorboes and harpsichords produces a crisp, thin sounds, but the steady rhythm and its rapid tempo simulate hurrying. judith calls abra to her side in the aria “veni, veni mi sequere fide” (“come, come follow me”), which is provided with a turtledove imitation in the obbligato .
fifteenth - century medallion of juditha with holofernes by giovanni della robbia in the island monastery of certosa (venice). photograph by sailko, wikimedia commons, 2012 .
as the second part of the oratorio begins ozias scans the heavens in the aria “o sidera, o stellae” (“o stars, o stars”). vivaldi provides “shooting star” figures in the string section. holofernes observes the darkness and notes that he is surrounded by shadows (“nox obscura tenebrosa”). judith reflects in response on the rapid passage of time (“transit aetas”). here that transit is simulated by the plucking of the mandolin and the pizzicato violins .
holofernes declares his love for judith (“noli, o cara, te adorantis”), but alert listeners will notice the aria’s accompaniment by oboe and organ. the oboe often signaled death, while the organ had ushered lost souls into the underworld in renaissance performances of tragedies. holofernes' demise is implied, as if in a greek tragedy, by the chorus that sings “plena nectare non mero” (“full of pure nectar”). vivaldi introduces two chalumeaux to underscore the now subdued turkish threat .
a renewed sense of vigilance, if not militancy, returns as the bethulians are summoned in vagaus’s aria “armatae face et anguibus, ” a “rage” piece calling forth images of snakes, “squalid savages”, and violent death. ozias is ebullient in “gaude felix, ” a call to rejoice. judith is acclaimed by the
chorus of virgins
in the closing piece, “salve, invicta juditha formosa” (“hail judith the invincible”) .
central european chalumeau (left) and lithuanian birbyne. photograph by hacemei, wikimedia commons, 2008 .
contrary to popular belief, the pietà' s figlie di coro who performed in this and other works by vivaldi were not nubile. they ranged in age from their mid - teens to their 60s or 70s. many had pupils who were girls ranging in age from 8 or 10 to their teends. one copy of the libretto for juditha identifies the soloists as caterina, silvia (b. 1650), polonia (b. 1692), barbara, and giulia. all five were born in the seventeenth century, the eldest (silvia) around 1650, the youngest (polonia) in 1692. the chorus was one of virgins with respect both to the pietà’s situation and in the context of the subject, for bethulia, the name of the city judith defended, meant “virgin. ”
while in its reliance on core strings (violins, violas, cellos) juditha triumphans is straightfoward in its instrumental requirements, the obbligati extend to unusual bowed strings (viola d' amore), plucked strings (mandolin, four theorboes), and woodwinds. a consort of five viols (2 treble viols, 2 violas da gamba, and a violone) are called for one in recitativo accompagnato. the woodwinds include paired baroque oboes, recorders, chalumeaux (single - reed instruments from central europe that were slightly shrill forerunners of the clarinet), and a shawm (salmoè). natural trumpets and timpani lead the triumphal openings and closing numbers .
. 1700 - 1715). photograph by anton steck, wikimedia commons, 2009, shows sympathetic strings that vibrate in response to the upper strings .
the pietà had one chorus, but it could obviously be divided into multiple groups. in juditha it simply took on a series of colorations - - as a chorus of assyrian soldiers (1. 1), servants (1. 21a), bethulians (1. 27), drunken (ottoman) soldiers (2. 10), and judeans (2. 28) .
the ccarh edition of juditha triumphans, edited by frances bennion, edmund correia, jr. , and eleanor selfrdige - field, was drafted in 2008. the number of parts for juditha triumpans is extensive. twenty - eight different instruments are named in the manuscript. while the list is long, it should be appreciated that many unusual instruments appear only once or twice. in vivaldi' s time a few woodwind players would have simply picked up a different instrument when required. the viols and plucked instruments are similarly likely to have been played by those who normally covered the string orchestra parts. today' s performers should remember in devising substitutions that the more unusual instruments were were selected for particular timbral qualities, which can still be maintained within a smaller range of more conventional choices. the number of ripieno string players varied with circumstances .
unfretted bowed strings: violin 1 (3 above), violin 2 (4), viola (5), violoncello (6) .
fretted bowed strings: consort of 4 viole all’inglese, i. e. 2 treble and 2 alto english viols, with violone (8 above )
bowed with sympathetic strings: viola d’amore (version at sounding pitch; version in written pitch with scordatura .
other: the basso continuo part (with occasional specifications for organo, cembalo) incorporates the cello and four theorbo parts .
this editions of juditha triumphans was first used by venice baroque, whose performances may be available here. the edition has subsequently been revised and corrected for use by philharmonia baroque (2014) .
this page was last modified on 17 march 2014, at 23: 55 .
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the stone bridge of templa, in the mountainous region of etoloakarnania, in central greece .
tunnel at the tzagkarolon greek orthodox monastery, in chania region, crete island, greece .
beautiful santorini island in greece. set of nine square images with landmarks and views of famous oia village and volcanic caldera
beautiful santorini island in greece. set of eight images with landmarks and views of famous oia village and volcanic caldera
view on blue caves rock arces arches and crystal clear blue water of ionian sea from sightseeing boat inside cave. famous blue caves of greece zakynthos island. holidays vacation tours agios nikolaos
the monastery of panayia pantanassa at the historical site of mystras, a byzantine castle in greece. the monastery is the sole inhabited temple on the site since the byzantium era. only women live there .
architectural glimpse of tinos town the only village of tinos island, a greek island in the aegean sea, part of the cyclades archipelago .
sunset in pylos, peloponnese, greece, at the ruins of the ancient aqueduct .
monuments thin line vector icons. louvre and colosseum, pyramid and arc de triomphe
rethymno, greece - may 3, 2016: touristic attraction guora gate. tourists walk the streets of the old town. street advertising signboard on touristic street. mediterranean architecture on crete
rhodes / greece - june 23, 2014: street in the rhodes old town, rhodes, dodecanese islands, greece .
part of the roman aqueduct built in the island of lesbos, greece, a construction of the early 3rd c. a. c .
double classic pillars arc isolated on brown background. vector illustration flat architecture design. building ancient monument background. column pillar parthenon landmark. famous architecture
the great arch of the legendary stone bridge of arta, in epirus region, greece .
beautiful view on rock arces arches of blue caves from sightseeing boat with tourists in blue water of ionian sea inside cave, island zakynthos, greece holidays vacation. trip from agios nikolaos port
european cities skylines set. vector silhouettes. modern and historical architecture, landmarks of european cities
greece flag in the form of wave ribbon. vector illustration on white background .
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the venetian arsenal at gouvia was a shipyard built by the venetians during their rule of corfu on the west side of what used to be called govino bay , the current location of the modern village of gouvia . the remains of the old arsenal still exist at the bay of gouvia , and are located approximately 8 km from corfu city . the ruins are behind the modern marina of the port of gouvia and are separated from it by an iron fence . the venetians used the bay as a port and their arsenal was built near the water . the venetian shipyard features three arched docks which were used to service their two fleets which were stationed in corfu . the columns , walls and arches of the arsenal survive almost intact but the roof is missing . the use of the arsenal was officially discontinued when the treaty of campo formio , which was signed on 18 october 1798 , signalled the end of the venetian republic . admiral ushakov landed his troops at the site of the arsenal and created a military camp there during the siege of corfu in 1798 . the arsenal also functioned as a base for the french in 1917 – 1918 . 
the venetian arsenal at gouvia was a shipyard built by the venetians during their rule of corfu on the west side of what used to be called govino bay, the current location of the modern village of gouvia. the remains of the old arsenal still exist at the bay of gouvia, and are located approximately 8 km from corfu city. the ruins are behind the modern marina of the port of gouvia and are separated from it by an iron fence. the venetians used the bay as a port and their arsenal was built near the water. the venetian shipyard features three arched docks which were used to service their two fleets which were stationed in corfu. the columns, walls and arches of the arsenal survive almost intact but the roof is missing. the use of the arsenal was officially discontinued when the treaty of campo formio, which was signed on 18 october 1798, signalled the end of the venetian republic. admiral ushakov landed his troops at the site of the arsenal and created a military camp there during the siege of corfu in 1798. the arsenal also functioned as a base for the french in 1917 – 1918.
the venetian arsenal at gouvia was a shipyard built by the venetians during their rule of corfu on the west side of what used to be called govino bay, the current location of the modern village of gouvia. the remains of the old arsenal still exist at the bay of gouvia, and are located approximately 8 km from corfu city. the ruins are behind the modern marina of the port of gouvia and are separated from it by an iron fence. the venetians used the bay as a port and their arsenal was built near the water. the venetian shipyard features three arched docks which were used to service their two fleets which were stationed in corfu. the columns, walls and arches of the arsenal survive almost intact but the roof is missing. the use of the arsenal was officially discontinued when the treaty of campo formio, which was signed on 18 october 1798, signalled the end of the venetian republic. admiral ushakov landed his troops at the site of the arsenal and created a military camp there during the siege of corfu in 1798. the arsenal also functioned as a base for the french in 1917 – 1918.