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The Course Register 1982
Bold Type indicates we believe to have an up-to-date postal address.* Asterisk indicates a son or daughter has also been on the Course.
Guy Ashton, Rebecca Attree, Serena Bailey, Harry Buscall, Belinda Beck, Sarah Bernard, William Biddulph, Remony Brice, Jonathan Bulme, Sophie Butcher, Duncan Chapman, Lucilla Clay, Victoria Colfox, Venetia Cordle, Caroline Cotton, Phillipa Czernin, Elizabeth Darke, Madeleine Delevigne, Emma Denne, Ian Dembinski, Clare Deterding, Thalia Douglas Marshall, Sally Dunlop, Catherine Edwards, Rupert Edwards, Katja Faber, Rose FitzRoy, James Garthwaite, Harriet Goble, Katherine Goodison, Annabel Gratton, Sophie Grattan-Bellew, Katherine Gwatkin, Alice Hart-Davis, Annabel Heseltine, Joanna Hone, Harriet Hordern, Julia Howard, Timothy Jones, Robert Lagneau, Christine Lambert, Charles Lawrence, Claudia Levy, Diana Loudon, Suki Lyle, Caspart MacLeod, Joseph Marshall, Davina Miles, Tamsin Olivier, Abigail Osbourne, Amelia Paget, Serena Parker, Katie Peake, Jane Pemberton, Simon Pender, Matthew Poland, Geofrey Post, Fiona Rae, Melissa Remnant, Andrew Rennie, Edwin Richards, Romany Rowe, Susannah Scott, Matthew Searle, Nayia Seraphim, Clare Seys-Phillips, Joanna Sharp, Miles Shephard, Nicola Sherriff, Dina Southwell, Annabel Stirling, Lorne Stormonth-Darling, Katharine Stow, Sarah-Jane Stratton, Hugo Stuttaford, Thomas Taylor, Henrietta Trefusis, Juliette Walker, Helen Williams, Lucy Williams, Kate Wilson, Rosanna Wilson-Stephens, Eleanor Winch, Rebecca Wood, Miranda Worsley.
Record of Past Programme
The Contemporary Europe Pre-University Course in Venice
February 1 – April 7
Director: John Hall
Venice. Pensione Atlantico, Hotel Kette
Lectures: The Dante Alighieri Society (Arsenale)
Lecturers and Syllabus
The Right Reverend Dr. Felix Arnott former Archbishop of Brisbane, a member of the Anglican-Roman Catholic Committee, Chaplain of the English Church in Venice
Canterbury and Rome – can they come together?
David Ekserdjian M.A.
The Early Renaissance and Venice
Giotto; Masaccio and the early Renaissance in Florence; Donatello in Padua; Mantegna; Giovanni Bellini; the Bellini family and some Venetian alternatives: the Vivarini, Cima da Conegliano, Carpaccio.
How to look at Florence and Rome
Florence: the churches; the galleries and museums. Rome: the 15th century; Bramante, Raphael, Michelangelo; Caravaggio, Bernini, Borromini.
Jane Glover Lecturer in Music, St. Hugh’s College, Oxford, Chorus Director, Glyndebourne Festival Opera
Venetian Opera in the 17th and 18th Centuries
Monteverdi; Cavalli; Vivaldi.
John Hale F.B.A. Historian, Professor of Italian, University College, London
Venice; Florence; Rome
Doctor Bernard Hickey M.A.Professor of Commonwealth Literature, University of Venice
Deborah Howard Ph.D. Author of ‘The Architectural History of Venice’
Urbanistica; the Byzantine and Gothic heritage; the beginnings of the Renaissance in Venice; Piazza S. Marco and the Rialto; Palladio in Venice; the plague and its effect on the landscape; art and music in Venetian hospitals.
Peter Lauritzen B.A.
Byron in Venice; the Venetian Palace; Restoration in Venice 1965-1971
Andrew Matthews Professor in Psychology, St. George’s Hospital, London
Experience and Behaviour
Brain and mind; seeing the world; remembering and forgetting; learning about emotions; myths and mental illness.
Charles McCorquodale M.A.
Giorgione and Giorgionism; Titian; Correggio; Bronzino and Pontormo
Rodney Milnes Associate Editor, Opera Magazine
Opera: Exotic and Irrational or the Summit of Dramatic Art?
Sensibility and Sense: opera seria and Gluck’s reforms; Comedy and Revolution: the world of Mozart; the Age of bel canto: Bellini and Donizetti; Comedy and Anarchy; Rossini and the rise of operetta; Verdi and the triumph of dramatic truth; outside influence from East and West: Russian and French opera; Realism unleashed: Puccini and his contemporaries; Wagner and ‘the complete work of art’; Wagner – the reluctant humanist; the elements of performance; pressures and practicalities.
Peter Phillips Professor, Royal College of Music, Director The Tallis Singers
Venice as a stylistic centre for sacred music: 1550 – 1750
The origins of coro spezzato: Willaert; the two Gabrieli; Monteverdi’s sacred music; sacred music in Venice in the High Baroque; Vivaldi; Venetian influence in Italy: Lassus and Palestrina; Venetian influence in Germany: Schutz.
Professor Dott. Terisio Pignatti Professor of the History of Art, Venice University
Tintoretto; Veronese; Tiepolo; the Guardi and Canaletto
Stella Rudolph B.A., Laurea, Lecturer in Art History, Syracuse University Florence Program
Palladio; Piranesi; Canova
Nicholas True B.A.
The Roman Tradition
The Roman Inheritance; evolution of Byzantium; the Byzantine approach to art; art and architecture in Christian Rome; the idea of Empire in Western intellectual tradition.