Itinerary

Structure and Beauty: The
Triumph of Italian Art
28 DEC 2014 – 12 JAN 2015
Tour Leaders
Code: 21501
Em. Prof. Bernard Hoffert
Physical Ratings
Join Em. Prof. Bernard Hoffert, former Assoc. Dean in
Monash's Faculty of Art & Design and World President of
IAA-UNESCO and explore the richness, diversity and
passion of Italy's visual legacy.
Overview
Tour Highlights
This tour is limited to 18 participants
Gain a thorough understanding of the development of Italian art from a learned and highly
experienced tour lecturer, Emeritus Professor Bernard Hoffert. Bernard an art historian and artist;
former World President of the International Association of Art-UNESCO, and Associate Dean of the
Faculty of Art Design and Architecture at Monash University, he established the programs in art and
design at Monash's Centre in Prato, Italy
Based in Rome, Prato and Venice we visit some of the greatest museums in Italy (Villa Borghese,
Vatican, Uffizi, Accademia, The Peggy Guggenheim Collection) and explore different artistic periods
and historical eras
Immerse yourself in the marvels of a myriad buildings, sculptures and paintings by Italy's masters,
just like a traveller of the Grand Tour
Study the work of the Italian masters: Giotto, Brunelleschi, Leonardo da Vinci, Michelangelo,
Raphael, Piero della Francesca, Caravaggio, Bernini, Giorgione, Tintoretto and Titian
Learn about continuity and change in the art and architecture of Italy from classical antiquity to the
18th century, while building your visual vocabulary and honing your analytical skills
Consider the contribution of religion and new political forms like the City State, the development
and rise of the Comune and the influence of different environments upon regional innovations
Enjoy Italian food and wine in local restaurants and discover flavours and dishes from times gone by.
Take the opportunity to try the coda alla vaccinara in Rome, the famous ribollita soup in Florence or
have an aperitivo in a typical osteria along Venice canals with a glass of excellent Italian wine.
Visit Italy in winter, a time when fewer crowds allow you to immerse yourself in the Italian way of life,
particularly during the Christmas period lasting until the Epiphany (6th January)
Enjoy the most exciting night of the year in Rome – New Year's Eve – when the city puts on a feast
of performances in places like the Forum and Quirinale
Discover the Roman civilization visiting the Roman Forum, the Colosseum and Pompeii – the
wonderful site that preserves in a time capsule not only the life-style of the wealthy, but also that of
everyday citizens
Discover Arezzo and the Church of San Francesco with the incredible Early Renaissance fresco cycle
by Piero della Francesca depicting the Legend of the True Cross
Explore the World Heritage town of Ravenna with its early Christian buildings and the supreme
artistry of the mosaic art, and the early medieval Abbey of Pomposa
Visit Assisi, the mystic town of Saint Francis still surrounded by ancient walls, and the Basilica of Saint
Francis with its early Renaissance masterpieces by Giotto and Cimabue. See the main piazza of
Assisi graced by its medieval bell tower... so amazing that Goethe detoured just to gaze on it!
16 DAYS IN ITALY
Overnight Rome (6 nights) • Prato (6 nights) • Venice (3 nights)
Overview
Led by Emeritus Professor Bernard Hoffert, former Associate Dean in Monash's Faculty of Art and Design,
we explore the balance between continuity and change in the art and architecture of Italy from classical
antiquity to the 18th century. In Rome, Pompeii, Assisi, Florence, Siena, Arezzo, Sansepolcro, Ravenna and
Venice, we examine how the giants of Italian visual culture, such as Giotto, Brunelleschi, Leonardo,
Structure and Beauty: The Triumph of Italian Art
March 2015
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Michelangelo, Raphael, Piero della Francesca, Bramante, Bernini, Titian and Caravaggio shaped the
Western tradition. In monuments and museums, we see how Roman heritage, integrated with Byzantine
elements, is midwife to world shattering ideas and artistic forms. We begin with the great monuments of
ancient Rome, then examine Rome's Early Christian churches, High Renaissance and Baroque masterpieces
of painting, sculpture and architecture and see one of the wellsprings of European artistic traditions in the
sublime ruins of Pompeii. We examine how Michelangelo brought an exquisite monumentality to art and
architecture, and how architect Borromini, painter Caravaggio, and polymath Bernini all innovated with
classical antiquity. We explore the genesis of Renaissance visual clarity and proportion in Giotto's Assisi
cycles, paintings by Masaccio, Uccello, Botticelli, Fra Filippo Lippi and Leonardo, sculpture by Donatello
and Michelangelo, and the architectural wonder of Filippo Brunelleschi. In Siena we contrast Florentine
gravitas to Sienese grace and pay homage to Piero della Francesca through his fresco cycle of the Story of
the True Cross in Arezzo and his masterful the Resurrection and Madonna of Mercy in Sansepolcro. We
explore Eastern mysticism through the scintillating, brilliantly coloured Byzantine mosaics of Ravenna, and
then consider how the rich impasto of Venetian masters like Giorgione, Titian and Tintoretto posed an
alternative to Florentine linear clarity by reconciling classical form to the Byzantine colouristic tradition. Their
paintings captured the refractive light of the lagoon, also exploited by the colourism of Venetian
architects. An affordable option, our tour utilises 2 and 3-star accommodation - including the historic
Convent of San Trovaso in Venice.
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Leaders
Em. Prof. Bernard Hoffert
Art historian and artist, former World
President of the International Assoc.
of Art-UNESCO and Associate
Dean, Art & Design, Monash
University. Bernard established
Monash art & design programs in
Prato, Italy. He leads ASA tours to
Italy and India.
Em. Prof. Bernard Hoffert was formerly Associate Dean in the Faculty of Art and Design at Monash
University, with responsibility for the Faculty's Higher Degree by Research program and the Faculty's
International and External profile. He headed five departments while at Monash including the art school. He
was the World President of the International Association of Art-UNESCO (1992-95) and remains an
Honorary President; he has been Honorary President of the Asia-Pacific Regional Council of the
International Association of Art - UNESCO and has continued involvement with UNESCO through the
International Society for Education through Art (InSEA). He has been a member of the Global Advisory
Board of the Human Dignity and Humiliation Studies Network, Columbia University since 2006 and a
member of their Research Committee. He was Vice President of the Academic Board of Monash University
(2008-2010). He has been a member of the Review Boards of the Art Education Research Journal,
Melbourne University (2004-12), the Art Education Australia Research Journal (2004-12), and a member of
the Monash Asia Institute Publication Board (MUP) from 2001-11. He has been a member of the Executive
Committees of the Australian Council of University Art and Design Schools (ACUADS) and Art Education
Australia (AEA), and coordinated AEA's research development. He has also contributed to standing
committees of Art Education Victoria and the National Association of the Visual Arts.
Bernard first joined ASA in 1981, and is ASA's second longest standing group leader/lecturer. He has led
over 50 tours to Europe, including programs to Italy, France, Spain, Eastern Europe and the United
Kingdom. He has led ASA tours to most regions of Italy, including Lombardy, the Veneto, Tuscany, Umbria,
Lazio (Rome) and Sicily, and has a deep knowledge of the rhythms of Italian art history and Italy's profound
contribution to the Western tradition. Bernard has nurtured ASA's long and fruitful relationship with Monash
University, and has played a key role in the great success of Monash University's Centre in Prato, near
Florence; ASA assisted Monash in developing this centre and Bernard established the flourishing Monash
Art and Design undergraduate and research programs at Prato.
Bernard also has a long involvement with India and has travelled extensively from the Himalayas in the north
to the southernmost tip of the subcontinent. He wrote the section on India in the 1987 edition of Art and
Diversity (Longman) and has exhibited his paintings and presented his poetry at the All India Fine Arts and
Crafts Society Gallery in Delhi; his paintings are in several Indian collections. He has participated in art
symposia and conferences in India and has lectured at the National Institute of Design in Ahmedabad. His
research has been published in the Indian journal Design Plus and his research on craft revival in India has
been published by UNESCO and the Network of Human Dignity and Humiliation Studies. He contributed a
chapter to the Indian text, Design Education: Tradition and Modernity, published late 2007.
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Itinerary
The detailed itinerary provides an outline of the proposed daily program. Participants should note that the
daily activities described in this itinerary may be rotated and/or modified in order to accommodate changes
in museum opening hours, flight schedules etc. Meals are included in the tour price and are indicated in the
itinerary where: B=breakfast and D=evening meal.
Rome - 6 nights
Day 1: Sunday 28 December 2014, Arrive Rome
Orientation Walk
Pantheon
Trevi Fountain
Spanish Steps
Participants taking the ASA ‘designated’ flight are scheduled to arrive in Rome in the early afternoon. After
clearing customs we will transfer by private coach to our hotel in Rome’s city centre. After check-in we
commence our program with an orientation walk, starting with one of Rome’s most significant monuments,
the Pantheon. Roman monumental architecture is characterised by the modelling of vast areas of space,
and exemplified by the cavernous interior of the Pantheon, which is unified by the enormous dome that
springs from its circular walls. We shall then proceed to the Baroque Trevi Fountain and the Spanish Steps,
with their lively atmosphere and stunning views down into the winding alleys of the heart of the historic
centre. (Overnight Rome)
Day 2: Monday 29 December, Rome
Vatican Museums
St Peter’s Basilica
Group Evening Welcome Meal
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Today we visit the great Basilica of St Peter’s, the Vatican Museums, the Sistine Chapel, and Raphael’s
Vatican stanze. We commence with a visit to Michelangelo’s great St Peter’s, to which Carlo Maderno
(1556–1629) added the nave and façade, and Bernini his marvellous piazza. We shall also see
Michelangelo’s early Rome Pietà and Bernini’s Baldacchino and Cattedra Petri.
The purpose of our visit to the Vatican Museums is to explore further the emergence of the High
Renaissance and the Baroque styles, and we begin in the sections of the great museums devoted to
antiquity where you will see the Hellenistic sculptures that inspired Michelangelo (1475–1564) and Raphael
(1483–1520), such as the Laocoon and the Apollo Belvedere. The grand proportions, energetic poses and
heavy musculature of these sculptures contributed to the balance of power, dynamism and unity that
characterises High Renaissance figure style and composition.
Later, we shall explore the emergence of the High Renaissance in two masterpieces, Raphael’s Vatican
stanze (including The School of Athens) and Michelangelo’s Sistine Chapel ceiling and Last Judgement.
Raphael’s works are a matchless balance of architecture and grand figure groupings. Whilst working on the
Sistine ceiling, Michelangelo evolved a revolutionary new mode for decorating vast vaults. This came
gradually. When he was able to examine his early essays (i.e. The Flood) from floor level when the first
scaffolding was dismantled, he found his figures to be too small and the compositions too intricate and
therefore his later works, such as the Creation of Adam are simpler, grander, and far more powerful. In the
Sistine Last Judgement, Michelangelo moved beyond the calm balance of the High Renaissance to develop
a style that presaged Mannerism and the Baroque. This evening we dine together at a local restaurant.
(Overnight Rome) BD
Day 3: Tuesday 30 December, Rome – Pompeii – Rome
Pompeii
Today we shall drive south to the Bay of Naples to visit the Roman port and resort town, Pompeii. This city,
preserved by ash from erupting Vesuvius, gives an excellent opportunity to explore the workings of a
Roman town. You will visit the forum, theatre and odeon, amphitheatre and gymnasium, and study a
number of houses which have well-preserved wall paintings. (Overnight Rome) B
Day 4: Wednesday 31 December, Rome
Villa Borghese
San Clemente
Afternoon at leisure
New Year’s Eve Group Evening Meal
This morning we visit the Villa Borghese, with its great collection of Caravaggio and Bernini. Here we shall
trace the evolution of Bernini’s fascinating sculptural illusionism in his early monumental sculptures such as
the Pluto and Proserpine (Hades and Persephone) and his extraordinary Apollo and Daphne.
Next we shall explore the development of Early Christian and medieval architecture and mosaic in one of
the city’s most beautiful basilicas. San Clemente, is particularly fascinating, because below the later
medieval church two earlier levels have been found, one occupied by an earlier church and one with an
even earlier church next to a temple dedicated to the oriental god, Mithras, and also an ancient warehouse.
At this level, which survives from antiquity, there is also a narrow street and a conduit for water that can be
heard bubbling in the background.
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We shall begin in the upper, medieval church where we shall view its exquisite apse mosaics. The mosaic
occupying the apsidal dome represents Christ on the Cross, surrounded by a great Vine of Life, all hanging
in a scintillating gold background. The upper church also has the remains of its ambo, the traditional
chancel furniture of a medieval basilica, and paintings by Masaccio’s associate, Masolino (1383-1447). We
shall then descend to the Early Christian church of the 4th-century. This church was constructed when
Christianity became dominant in the city. It has two very early wall paintings, one of which depicts a miracle
that occurred in the shrine of Saint Clement in the Sea of Azov (Black Sea). Saint Clement had been
martyred by being thrown into this sea. Once a year, a particularly low tide revealed his small chapel. One
year a small boy was left behind. Everyone thought him drowned until, the next year, he was found alive
when the low tide again revealed St Clement’s underwater chapel. The image depicts the finding of the
boy, whose name was Clement, witnessed by his family.
At San Clemente’s lowest level, the Temple of Mithras was the centre of a mystery cult that rivalled
Christianity before the Emperor Theodosius declared all pagan cults illegal; Mithraism, which had
developed out of Persian Zoroastrianism, was particularly prevalent in the Roman army, which they had
brought back from military campaigns in East.
In the evening we will celebrate the New Year with a group dinner. After the meal, if you are feeling in the
mood to celebrate, Rome is the place to be. The city’s traditional New Year’s Eve celebrations centre on
Piazza del Popolo but also take place elsewhere. Huge crowds listen to rock and classical music and watch
dancing and, of course, fireworks and, as you can imagine, the celebrations last well into the night. In Piazza
del Popolo, next to the Church of Santa Maria del Popolo, you will be able to see an exhibit of traditional
nativity scenes from many regions of Italy and other countries of the world. Rome also puts on a classical
music concert outdoors on the square in front of the Quirinale, off Via Nazionale, around 11:00pm, followed
by fireworks at midnight. There is also the traditional Capodanno (New Year) concert in the Imperial Forum.
Sponsored by the city, this free concert usually features a big Italian name leading the show. (Overnight
Rome) BD
Day 5: Thursday 1 January 2015, Rome
Morning at leisure (New Year’s Day Parade or Mass at Santa Maria Maggiore)
San Luigi dei Francesi
Piazza Navona
Sant’Ivo della Sapienza (façade)
Sant’Ignazio
If you wake up with enough energy on January 1, you should consider attending the city of Rome’s fantastic
New Year’s Day parade. The event begins at 10 a.m. at St Peter’s Square, with the Pope’s New Year’s Day
blessing. It then heads down Via della Concilliazione toward the Tiber before ending near Castel
Sant’Angelo. Tens of thousands of people congregate to watch the parade, with its military, civil and school
bands and pageantry. Alternatively, you may wish to attend the Mass at the suggestive Santa Maria
Maggiore, which was the first great early basilica to be built inside the walls of the ancient city.
This afternoon is devoted to the development of Baroque architecture, painting and sculpture. We will
examine how the Counter-Reformation conveyed religious dogma in form and space, and explore ways in
which Borromini and Bernini accommodated their 17th century religious architecture to the urban spaces
evolved in the 16th century by designing dramatic facades.
We begin with a visit to the French Church San Luigi dei Francesi. Here, in Caravaggio’s revolutionary St
Matthew cycle, we shall explore this master’s revolutionary use of light to convey the mystical
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transformation of the human soul.
In Piazza Navona we view Bernini’s Four Rivers Fountain and Borromini’s dramatic façade for Sant’Agnese in
Agone. We shall also see how the highly original architect, Francesco Borromini (1599–1667) dynamically
manipulated classical form and proportion in his stunningly theatrical curved façade of Sant’Ivo della
Sapienza (1640–1650).
Finally we shall explore how the Roman tradition of monumental architecture was revived in Renaissance
and Baroque Rome. To do so, we shall compare the greatest extant monument of Rome, the Pantheon
(visited on Day 1), with the architecture of Sant’ Ignazio where the same sense of huge unified space
characterises the interior of this great Jesuit church. (Overnight Rome) B
Day 6: Friday 2 January, Rome
Piazza del Campidoglio
Palatine Hill
Roman Forum
Colosseum
We begin today’s visits on the Campidoglio. This was the citadel and the religious centre of ancient Rome,
with a temple dedicated to Jupiter, Juno and Minerva. The Tablinarium (Rome’s ancient record office) was
also here, and part of it still exists under the later Senate. Michelangelo designed the present magnificent
ensemble of buildings for Pope Paul III, who wanted a symbol of restored papal Rome to impress the
visiting Habsburg Emperor Charles V. This is one of the first piazzas ever designed according to the rules of
perspective and was of enormous influence through the world.
We next descend to the heart of the ancient world, the Forum Romanum. The Forum was the religious and
financial centre of the Imperial city, where the Vestal Virgins watched over the sacred flame, the Senate met
and the Roman world was ruled. From the Forum we walk up to the massive imperial palace complex on the
Palatine Hill.
To end our day we visit the Colosseum, built by Vespasian (r.69-79) on what was formerly the artificial lake
of the Golden House of Nero. This is the largest amphitheatre ever built by the Romans and is a superb
testament to the design, engineering and construction techniques of the 1st century AD. Beside the
amphitheatre is the Arch of Constantine, a relic from the later years of the Roman Empire, constructed at a
time of great political and religious upheaval. While this triumphal arch shows a continuity of the tradition
whereby victorious Emperors were honoured with an elaborate celebratory arch, the Arch of Constantine is
a conglomeration of relief sculpture taken from other monuments in the city and reused here. (Overnight
Rome) B
Prato - 6 nights
Day 7: Saturday 3 January, Rome – Assisi – Prato
San Francesco (Upper & Lower Church), Assisi
Today we shall drive from Rome to Prato via Assisi. We shall spend the late morning and lunchtime in Assisi
visiting the Church of San Francesco to study the important fresco cycles of Giotto’s followers, of the
Sienese Lorenzetti brothers (Ambrogio and Pietro) and of Simone Martini (1284–1344).
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This centre of the Franciscan Order was the seedbed of the early Renaissance narrative fresco cycle.
We shall explore how Giotto (1266/7–1337) and his contemporaries used gesture in space to tell the stories
of Christ and the saints and inculcate faith. By comparing the works of Cimabue (1240–1302), Giotto, the
Lorenzetti and Simone Martini, you will also be able to gauge the similarities and differences between the
Byzantine, Florentine and graceful Sienese idioms around 1300 AD.
After spending much of the day in Assisi, we continue on to Prato, home to Monash University’s study
centre in Italy. (Overnight Prato) B
Day 8: Sunday 4 January, Prato – Siena – Prato
Palazzo Pubblico
Cathedral
Cathedral Museum
Medieval Quarters
Group Evening Meal at Lo Scoglio Prato
Siena is the quintessential medieval city. No other place in Italy gives such a wonderful picture of what a
comune was like in the later Middle Ages. Bernard will spend the morning creating a ‘mental map’ of the
city, visiting Ambrogio Lorenzetti’s (1290-1348) great paintings of Good and Bad Government in the
Palazzo Pubblico and Duccio’s masterpiece, the Maestà in the Cathedral Museum. We shall explore the
mastery with which Duccio (c.1260–c.1319) built upon the tradition of Byzantine colour and form to present
narrative in a very different way to Giotto.
In Siena’s Cathedral we shall examine the great pulpit of Nicola Pisano (1220/5– c.1284) and his son
Giovanni Pisano (1250–1315). It is in their pulpits that the Pisani transmitted the monumental tradition of
antique sculpture that had developed earlier in Southern Italy to the Renaissance; Giovanni also melded this
tradition with the grace of French Gothic.
Before returning to Prato we also visit Siena’s medieval quarters (contrade), in which many palaces are still
owned and often occupied by the families who built them. It is the contrade that, twice a year, run the
famous Palio horse race. Siena is a city of symbols. It is built on three ridges, a symbol of the Trinity, has
three major sectors (terzi) which each elected three members to the city council, the Council of Nine.
Protected by the Virgin Mary, the city interpreted its life and its very architectural fabric in terms of religious
symbols that also dominated ideas about government. Much of the philosophy that informed the city’s
image was based upon the thought of St Thomas Aquinas, which also formed the basis of Lorenzetti’s Good
and Bad Government. We return to Prato by coach, and in the evening we shall dine together at a local
restaurant. (Overnight Prato) BD
Day 9: Monday 5 January, Prato – Florence – Prato
Santa Maria Novella
Duomo Santa Maria del Fiore
Baptistery of San Giovanni
Afternoon at leisure
Today we trace the development of civic and religious art and architecture in the centre of Florence, visiting
Santa Maria Novella, Florence’s Duomo and the Baptistery. On arrival, we shall walk to Santa Maria Novella,
with its striking façade by Leon Battista Alberti (1404–1472) and its important frescoes, sculptures and
altarpieces. Of particular importance is the Trinitá of Masaccio (1401– 1428).
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We shall also explore Brunelleschi’s masterful dome that dominates the cathedral (Santa Maria del Fiore) as
well as tombs painted on its walls like the Sir John Hawkwood by Paolo Uccello (1397–1475). At the
Baptistery of San Giovanni we see the lovely bronze doors by Lorenzo Ghiberti in the Florentine classical
style of the early 15th-century. The remainder of the afternoon is at leisure for you to explore more of
Florence. (Overnight Prato) B
Day 10: Tuesday 6 January, Prato – Florence – Prato
Piazza della Signoria
Bargello Museum
Uffizi
We return to Florence and begin in the Piazza della Signoria, the secular centre of the city, with its great
civic palace, the Palazzo Vecchio, the beautiful Loggia dei Lanzi, Michelangelo’s David and
Donatello’s Judith and Holofernes (both copies).
We next visit Florence’s sculpture museum, the Bargello, which was formerly the old government palace of
Florence. It contains such masterpieces as Donatello’s David, the competition reliefs for the Baptistery
doors by Ghiberti (1378–1455) and Brunelleschi (1377–1446), and Michelangelo’s Brutus.
We return to the Piazza della Signoria and walk down Via dei Calzaiuoli, passing Orsanmichele, Florence’s
former granary, for the façade of which the major guilds commissioned monumental figures from Ghiberti,
Donatello and Nanni di Banco (1384–1431).
In the afternoon we visit the Uffizi to study the development of Florentine painting, with special emphasis
on Piero della Francesca, Uccello, Fra Filippo Lippi, Sandro Botticelli (1445-1510), Domenico Ghirlandaio
(1449-1494), Michelangelo, Raphael, and the Mannerists Parmigianino (1503-1540), Angelo Bronzino
(1503-1572) and Rosso Fiorentino (1494-1540). (Overnight Prato) B
Day 11: Wednesday 7 January, Prato – Arezzo – Sansepolcro – Prato
San Francesco, Arezzo
Museo Civico, Sansepolcro
Today we travel by private coach through the landscapes that inspired Piero della Francesca (1415–1492)
who reconciled stylistic elements of the Florentine and Northern Renaissance in his work.
In Arezzo we shall explore the magnificent Story of the True Cross in San Francesco. In this cycle Piero told
the story of the Cross of Christ, which originated from a nut placed under the tongue of the dead Adam,
grew to a tree used as a bridge by Christ’s ancestor, King Solomon, and then for the Cross, and was found
by Constantine’s mother, Saint Helena, on her pilgrimage to the Holy Land. The narrative sequence of the
cycle is not linear, the position of each scene being dictated by typological correspondences and the
Byzantine ideal that scenes should descend from celestial scenes in the upper reaches of a wall to the
terrestrial on its lower parts. The story of the cross and its discovery by St Helena and later its recovery by
Emperor Heraclius from the Persian Chosroes, and the presence of battle scenes in these lower registers,
alerts us to the fact that the Franciscans commissioned the cycle as propaganda to promote a Crusade to
free Jerusalem from the Muslims.
In the afternoon we visit Sansepolcro’s small communal museum to see Piero’s Resurrection and his
Madonna della Misericordia. Sansepolcro had a special meaning for Piero because, as its name suggests, it
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was a symbolic copy of the Holy Sepulchre at Jerusalem. In all Piero’s works we shall witness a mastery of
perspective and light, the former derived from Florentine innovations and the latter from Northern painting,
of artists like Jan van Eyck (1395-1441) that were immensely popular in Florence in the 15th century.
(Overnight Prato) B
Day 12: Thursday 8 January, Prato
Santa Maria delle Carceri
Prato Cathedral Museum
Prato Cathedral
Monash Centre
We begin the day with a visit to the basilica Church of Santa Maria delle Carceri. It is considered one of the
earliest, most notable examples of use of Greek cross plan in Renaissance architecture; an ideal Renaissance
church was centrally planned, unlike an orientated medieval basilica. According to tradition, on July 6, 1484
a child saw an image of Madonna and Child, painted on a wall of the public jail (carceri) of Prato, come to
life. In response to this miracle the comune of Prato decided to build a basilica on that site to celebrate the
event. Lorenzo de Medici (1449–1492) pressed for a design by his favourite architect, Giuliano da Sangallo
(c. 1443–1516). The latter’s proposal included a Greek cross plan inspired to Filippo Brunelleschi’s Pazzi
Chapel and by Leon Battista Alberti’s theory of architecture; Sangallo used the same idea for his first project
of St Peter’s in Rome (later superseded by that of Michelangelo). The same model inspired his brother
Antonio da Sangallo the Elder for the Church of S. Biagio at Montepulciano.
Prato Cathedral, dedicated to St Stephen, was originally known as the Church of Santo Stefano di Borgo al
Cornio (the name borne by Prato when it was a small country township). It was built by Guido da Como
(1211-) on the site of an earlier parish church and was subsequently enlarged, receiving a transept with 5
chapels between 1317 and 1368.
First we shall visit the Museum of the Cathedral that contains a magnificent pulpit by Donatello and
Michelozzo (1396–1472), which was originally on the façade of the Cathedral (today replaced by a replica).
The opportunity to observe the original work up close allows us to appreciate Donatello’s carving technique
and his ability to manipulate the perspective, expression and volume of figures to create a particularly
engaging effect for the viewer.
Within the cathedral we will visit the Chapel of Our Lady of the Assumption, decorated by Paolo Uccello
(c.1435) with stories from the life of the Virgin and St Stephen. We will also visit the newly restored High
Altar Chapel which contains a fresco program depicting the lives of St John the Baptist and St Stephen,
completed by Fra Filippo Lippi (1406–1469) between 1452 and 1464. These images, especially the Feast of
Herod: Salome’s Dance, and the Death of St Stephen, are remarkable for their visual drama; they were
created via the use of one point perspective combined with graceful figuration and innovative composition.
In the afternoon we view the Monash Centre in Prato, housed in the 18th century Palazzo Vaj. Here we will
have the opportunity to discuss the work we have seen so far. (Overnight Prato) B
Venice - 3 nights
Day 13: Friday 9 January, Prato – Ravenna – Pomposa – Venice
San Vitale
Mausoleum of Galla Placidia
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Sant’Apollinare Nuovo
Sant’Apollinare in Classe
Pomposa Abbey
This morning we drive west across the Apennines to the coastal plain around Ravenna. Here we shall first
visit the Church of San Vitale and the Mausoleum of Galla Placidia.
Ravenna plays a vital role in the history and art history of the transition from a pagan to a Christian Empire.
When, in the 4th century Rome became difficult to defend, the Imperial court moved first to Milan and then
to the Adriatic city of Ravenna. Ravenna then became the capital of the barbarian King of Italy, Theodoric
the Ostrogoth (454-526) and later, after the Emperor Justinian’s 6th-century reassertion of (Eastern) Imperial
control over Italy, the capital of the Byzantine Exarchate (religio-military colony) in Italy. It remained in
Byzantine control until 750.
San Vitale is adorned with the greatest of all cycles of early Byzantine mosaics from the period of Emperor
Justinian (483-565), its vivid green colouring contrasting to the strong blues of the late antique mausoleum
of Galla Placidia nearby. This mausoleum pre-dates the Byzantine invasion, and its mosaics, like those of
Santa Maria Maggiore in Rome, give a marvellous intimation of the transition from antique to early medieval
modes of representation. Among the masterpieces in San Vitale, on the other hand, are the scintillating
hieratic courtly images of Justinian and his wife Theodora on the apse walls.
We shall also visit the Byzantine churches of Sant’Apollinare Nuovo and Sant’ Apollinare in Classe. The
former has mosaics crafted during the reign of Theodoric the Ostrogoth, an Arian, which were changed by
the Orthodox Byzantines. You will explore the theological differences between the Arians and orthodox
Christians that led to the Council of Nicea (325) and its greatest product, the Nicene Creed. Sant’Apollinare
in Classe lies outside the city, located at what was once the coast; it was the port of Ravenna. Its light, airy
basilica has a magnificent apse mosaic depicting the Transfiguration and a fine image of Saint Apollinaris, to
whom the church is dedicated.
Driving north through the delta country of the Po and Adige rivers to Venice we shall make a stop at the
Abbey of Pomposa, home to some remarkable fresco cycles of the 14th century. This fine early medieval
abbey has a particularly tall tower, constructed of brick in the fashion of the Lombards, who ruled Italy after
the Byzantines. Lombardic brick architecture played a vital role in the emergence of Italian medieval
construction methods. (Overnight Venice) B
Day 14: Saturday 10 January, Venice
Piazza San Marco
Basilica of San Marco
Torre dell’Orologio (exterior)
Procuratie (exterior)
Campanile (exterior)
Loggetta (exterior)
Sansovino’s Library (exterior)
Mint (exterior)
Doges’ Palace (exterior)
Accademia
For the next two days we study the evolution of Venice and its art and architecture from the 9th century
when it was an economic colony of the Byzantine Empire to the 13th, 14th, 15th and 16th centuries when it
Structure and Beauty: The Triumph of Italian Art
March 2015
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became the wealthiest and most powerful trading city in the Mediterranean. We shall also look at the
cultural consequences of its slow economic and political decline when it attracted a myriad travellers as one
of the most significant custodians of beauty and humanity in the world.
Our program in Venice begins this morning with a visit to Piazza San Marco to study the square and its
remarkable buildings: San Marco, the Doges’ Palace, the Torre dell’ Orologio, the Procuratie, the
Campanile and Loggetta, Sansovino’s Library and the Mint. Our focus will be the development of the
political core of the republic, its institutions and aspirations, and their reflection in mosaic, painting and
architecture, from the Byzantine style of San Marco to the Gothic of the Doge’s Palace, the early
Renaissance style of the Procuratie and the Torre dell’Orologio and Renaissance classicism in the vision of
Jacopo Sansovino (1486–1570) in his contributions to this most beautiful of all city squares.
Today we also visit the Accademia, which holds the most extensive collection of Venetian paintings. In this
gallery we can chart the continuity and change that Venetian art underwent from medieval to Rococo
periods, through major works by artists such as Paolo Veneziano (c.1333–c.1358), Giovanni Bellini
(1430-1516), Giorgione (1477/8–1510), Titian (c. 1488/1490–1576), Paolo Veronese (1528–1588), Tintoretto
(1518-1594), Giambattista Tiepolo (1696–1770), and others. The collection includes Giorgione’s The
Tempest, Titian’s Presentation of the Virgin in the Temple, Tintoretto’s Miracles of St Mark, and Veronese’s
Feast in the House of Levi. We shall explore how the Venetians reinterpreted the new geometric spatial
construction – perspective – and classical proportion systems developed by the Florentines. We shall see
how they used the medium of oils to introduce sumptuous colour and to bathe their scenes in a golden
light, derived partly from the Byzantine mosaic tradition and partly from the exquisite light of their lagoon
city. (Overnight Venice) B
Day 15: Sunday 11 January, Venice
Peggy Guggenheim Collection
Santa Maria Gloriosa dei Frari
Scuola di San Rocco
Leisure time
Farewell Evening Meal
The formal part of the program commences with a visit to the Palazzo Venier dei Leoni which holds the
Peggy Guggenheim Collection. Peggy Guggenheim (1898-1979), niece of Solomon R. Guggenheim,
accumulated this remarkable collection of 20th-century art. The Venice Guggenheim is one of the most
significant modern art galleries in Italy. Its holdings embrace Cubism, Surrealism and Abstract
Expressionism. It includes notable works by Picasso, Braque, Duchamp, Léger, Dalí, Magritte, Picabia,
Severini, de Chirico, Brâncusi, Mondrian, Kandinsky, Miró, Giacometti, Klee, Arshile Gorky, Alexander
Calder and Max Ernst.
This afternoon we visit the great Franciscan Church of Santa Maria Gloriosa dei Frari which houses some of
the most significant works of the Venetian masters from the 14th to the 17th century, including Titian’s
Assumption, and his Pesaro Altarpiece. Painting styles range from a decorative Byzantine influence to
Renaissance classicism.
Nearby, we visit the Scuola Grande di San Rocco where we shall view Tintoretto’s most complete painting
cycle. This vast corpus of huge oil canvases, set in the walls of a charitable institution that aided plague
victims, rivals Michelangelo’s and Raphael’s Vatican frescoes in its size, breadth and power.
The remainder of the afternoon will be at leisure so that you can explore the city for yourself. You may wish
Structure and Beauty: The Triumph of Italian Art
March 2015
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to take a vaporetto along the Grand Canal, or visit the beautiful islands of Murano and Torcello, to see glass
blowing and visit their fine medieval churches. In the evening we shall have a farewell dinner at a local
restaurant. (Overnight Venice) BD
Day 16: Monday 12 January, Depart Venice
Airport transfer for participants departing on the ASA ‘designated’ flight
Our tour finishes in Venice. Participants wishing to return to Australia and who are travelling on the ASA
‘designated’ flight, will be transferred to the airport by private water taxi. Alternatively you may wish to
continue with your own travels in Europe. B
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Accommodation
16 Days in Italy
All hotels are rated 2 or 3-star locally and are comfortable and conveniently situated, all rooms have shower
or bath and w.c. Accommodation is in twin share. Single rooms may be requested – and are subject to
availability and payment of the single supplement. Further information on hotels will be provided in the
'Tour Hotel List' given to tour members prior to their departure.
Rome (6 nights): 2-star Hotel Italia - a family managed hotel, located in the historic centre, close to
the Quirinale. The refurbished rooms are equipped with en suite bathroom (incl. hairdryer), satellite
TV, direct-dial telephone, safe, air-conditioning and free Wi-fi. Hotel facilities include breakfast room
and American bar. www.hotelitaliaroma.it
Prato (6 nights): 3-star Hotel Giardino - a family run hotel with an excellent location in the historic
centre of Prato, close to the Monash University Prato Centre. All 28 rooms are equipped with en
suite bathroom (incl. hairdryer), air-conditioning, satellite TV, direct dial telephone, mini-fridge and
in-room safe. Other facilities include small bar & reading room with internet
access. www.giardinohotel.com
Venice (3 nights): Istituto Canossiano "San Trovaso" - located in the historic centre of Venice, in the
Dorsoduro district. It is housed in a 15th century monastic building run by Eremite nuns (known as
Romite) belonging to the monastic rule of St Augustine. Rooms are equipped with private
bathroom, Wi-Fi and telephone (no air-conditioning). A light continental breakfast is
provided. www.romite1323.com/english
Note: Hotels are subject to change. In this instance a hotel of similar standard will be provided.
Structure and Beauty: The Triumph of Italian Art
March 2015
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Tour Map
Structure and Beauty: The Triumph of Italian Art
March 2015
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Tour Price & Inclusions
AUD$5380.00 Land Content Only - Early-Bird Special: book before 30 June 2014
AUD$5580.00 Land Content Only
AUD$880.00 Single Supplement
For competitive Economy, Business or First Class airfares please contact ASA for further information.
Tour Price (Land Content Only) includes:
Accommodation in twin-share rooms with private facilities in 2 and 3-star hotels
Breakfast daily & 4 evening meals, indicated in the itinerary where: B=breakfast, and D=evening
meal
Drinks at welcome and farewell meals. Other meals may not have drinks included
Transportation by A/C motorcoach between cities and use of public transport in Rome, Prato to
Florence (local train) and Venice
Airport-hotel arrival/departure transfers if travelling on the 'designated' flights.
Lecture and site-visit program
Tour Handbook
Entrance fees
Use of audio headsets during site visits
Tips for the coach driver, local guides and restaurants for included meals.
Tour Price (Land Content Only) does not include:
Airfare: Australia-Rome, Venice-Australia
Personal spending money
Airport-hotel transfers if not travelling on the 'designated' flights
Luggage in excess of 20 kg (44 lbs)
Travel insurance
Structure and Beauty: The Triumph of Italian Art
March 2015
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Physical Endurance & Practical Information
Physical Ratings
The number of flags is a guide to the degree of difficulty of ASA tours relative to each other (not to those of
other tour companies). It is neither absolute nor literal. One flag is given to the least taxing tours, six to the
most. Flags are allocated, above all, according to the amount of walking and standing each tour
involves. Nevertheless all ASA tours require that participants have a good degree of fitness enabling 2-3
hours walking or 1-1.5 hours standing still on any given site visit or excursion. Many sites are accessed by
climbing slopes or steps and have uneven terrain.
This 16-day tour involves:
Extensive walking (usually 9.00am – 5.00pm), extensive use of city public transport, and extended
standing during museum and other site visits
Walking on uneven terrain, cobbled streets, and up and down hills and/or flights of stairs
Note: this tour includes the use of audio headsets which amplify the voice of your guide (despite
noisy surroundings). This technology also allows you to move freely during site visits without missing
any information.
Other considerations:
Designed to be an affordable option, this tour uses 2-and 3-star hotels, including the historic
Convent of San Trovaso in Venice
You must be able to carry your own luggage as porterage is NOT provided; there are two hotel
changes
Travel during the Italian winter: average temperature: Rome 4-12 °C, Florence 2-9 °C, Venice 1-7 °C.
It is important to remember that ASA programs are group tours, and slow walkers affect everyone in the
group. As the group must move at the speed of the slowest member, the amount of time spent at a site
Structure and Beauty: The Triumph of Italian Art
March 2015
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may be reduced if group members cannot maintain a moderate walking pace. ASA tours should not present
any problem for active people who can manage day-to-day walking and stair-climbing. However, if you
have any doubts about your ability to manage on a program, please ask your ASA travel consultant whether
this is a suitable tour for you.
Please note: it is a condition of travel that all participants agree to accept ASA's directions in relation to
their suitability to participate in activities undertaken on the tour, and that ASA retains the sole discretion to
direct a tour participant to refrain from a particular activity on part of the tour. For further information please
refer to the ASA Reservation Application Form.
Practical Information
Prior to departure, tour members will receive practical notes which include information on visa
requirements, health, photography, weather, clothing and what to pack, custom regulations, bank hours,
currency regulations, electrical appliances and food. The Department of Foreign Affairs & Trade website has
advice for travellers see: www.smartraveller.gov.au
Booking Conditions
Make a Reservation
ASA RESERVATION APPLICATION FORM
Please complete the ASA RESERVATION APPLICATION and send it to Australians Studying Abroad
together with your non-refundable deposit of AUD $500.00 per person payable to Australians Studying
Abroad.
Passport Details
All participants must provide no later than 75 days prior to the commencement of the program a photocopy
of the front page of their current passport.
Single Supplement
Payment of the single supplement will ensure accommodation in a single room throughout the tour. The
number of single rooms is extremely limited. People wishing to take this supplement are therefore advised
to book well in advance.
Structure and Beauty: The Triumph of Italian Art
March 2015
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ASA Reservation Form
Please complete one form in block letters and sign, for each participant. Additional copies may be requested from ASA or this form may be photocopied
(both sides please). Parental signature is required for participants under 18 years of age. Please mail this form with the appropriate deposit (cheques should be
made payable to Australians Studying Abroad P/L) to: P.O. Box 8285, ARMADALE, VICTORIA, 3143. On receipt of this reservation form and deposit, ASA
will process your booking and send you tour confirmation.
Tour Name
Air Arrangements
Please circle your preference:
A. I wish ASA to book my airfare using the designated flight from Australia to connect with the arrival group transfer.
B.
I wish ASA to book my airfare, however they will be independent of the group travel arrangements.
I wish to depart from (city in Australia)
on (date)
The following is an indication of the itinerary I wish to follow (eg-Melbourne to Amsterdam for 5 days then to Paris for 4 days, then to join the tour
starting in Rome). Your ASA travel consultant will be in contact with you to discuss your options.
C. I will be arranging my air fare independently and taking the Land Content Only option.
Tour Accommodation
Please book the following accommodation: (Circle your preference)
A.
As included in the basic tour price.
Please indicate your preference: [
] Twin-bedded room
or
[
] Double room**
** Many hotels do not provide double-bedded rooms, in this case you will be confirmed in a twin-bedded room.
I wish to share with:
Note: Twin-share accommodation for participants travelling without a companion can usually be arranged provided adequate notice is given to ASA. In the event that this is not possible,
payment of the single supplement will be required.
B.
In single room accommodation.
(Supp. $
)
ADDITIONAL ARRANGEMENTS
Should you require additional travel arrangements, such as rail, accommodation, hire car or tours, please contact your ASA consultant.
Correspondence
The fastest way for ASA to correspond with you about your travel plans is by email. Please indicate your preferred method of receiving correspondence from ASA
[
] Postal Mail
[
] Email Address (please print clearly): ______________________________________________________
HOW DID YOU FIND OUT ABOUT ASA ?
Would you kindly circle from where you first heard about ASA and the tour you are booking on:
•
ASA Mailing List
•
Friend/word of mouth
•
Kenneth W. Park
•
Susannah Fullerton
•
Sabrina Hahn
•
John Patrick
•
Richard Heathcote/Carrick Hill
Other
•
•
•
•
•
•
•
Stephen Crafti
•
Look Magazine
•
NGV Magazine
•
Gardening Australia Magazine
•
Open Gardening Scheme
ABC Radio
Friends of the Royal Botanic Gardens,
UWA Extension
University Department
National Trust Magazine
La Trobe University Alumni. Member No.___________
Melbourne
ASA Reservation Form
APPLICANT DETAILS ** WARNING: All travel documents must be issued with your correct passport name!**
TITLE ❑ Mr ❑ Mrs ❑ Ms ❑ Miss ❑ Dr ❑ Other
FIRST NAME (as in passport)
Preferred FIRST NAME
MIDDLE NAME (as in passport)
SURNAME (as in passport)
POSTAL ADDRESS
STATE
POSTCODE
TEL. (AH) (
)
TEL. (BH) (
)
Mobile Tel:
Date of birth:
FAX (
)
E-MAIL address
GENDER Male ❑ Female ❑
Smoker ❑ Non-Smoker ❑
It is important that all information regarding dietary requests is correct. Please complete the following carefully:
Airline meals: ❑ Standard ❑ Vegetarian (incl. eggs & dairy) ❑ Vegetarian (no eggs or dairy) ❑ Other (specify)
Meals during the tour:
Please tick (¸) if you require a standard meal on tour - no special dietary requirements:
Please tick (¸) if you CAN NOT eat any of the following:
❑fish
❑ Standard tour meals
❑poultry
❑red meat
❑dairy product s ❑eggs
❑pork
Please specify if you have any further dietary requirements or food allergies:
Frequent Flyer Membership # (if taking group airfare):
Name of Airline
Airline Seat preference (please note request only):
PASSPORT DETAILS
Increased world security requires that your travel documents and all in-country local reservations exactly match your passport name. It is therefore essential
that if you have a current passport with at least 6 months validity from date of return into Australia a photocopy of the first page is sent to ASA with this
reservation form. Please tick the applicable box below:
I have enclosed a copy of my current valid passport
please tick (¸)
I have travelled with ASA since January 2008 and ASA should have a copy of my current passport on file
please tick (¸)
My passport is not current or does not have at least 6 months validity from date of return into Australia
please tick (¸) **
I am applying for a new passport and will forward a copy to ASA as soon as I have received my new passport
please tick (¸) **
** If a copy of your passport is not enclosed, please advise your Nationality:
MEDICAL CONDITIONS
ASA’s tours require, on occasion, a substantial amount of physical exertion. The purpose of seeking this information is to assist ASA in determining the suitability of a tour participant for a particular
tour, and to address how ASA may be able to make ‘reasonable accommodation’ to cater for those tour participants, where only a minor modification may be needed. The information will be treated
in the strictest confidence. If ASA has any concerns based on the information provided by you, it will contact you to discuss those concerns and may request further information or clarification of the
information previously provided.
Please outline whether you suffer from any medical conditions in any of the following areas:
Respiratory
Spinal
Cardiac, including Blood Pressure
Allergies
Sight/Sound
Mobility
Any other condition which may affect your ability to participate on this tour?
Person to notify in case of emergency
Name
Relationship to Traveller
Address
Telephone
If any details requested on this form are not yet available, please still forward your form and communicate these details at a later date.
I have enclosed a deposit of $
for this tour.
I understand that this deposit is subject to the cancellation fees as outlined in the BOOKING CONDITIONS section of the tour itinerary.
LIABILITY RELEASE: Please read carefully and sign the following:
I have read the itinerary and related information pertaining to this tour of which I am a participant that has been designed and conducted by Australians Studying Abroad Pty Ltd. I am aware
of the terms and conditions of the tour relating to refunds and cancellations, responsibility and liability. I understand that there are inherent dangers and risks that may occur with this tour, known
or unknown, relating to but not limited to air, coach, car and ship travel, walks, camera equipment, accidents and/or illnesses and acts of nature, man or God.
I also understand that the itinerary, accommodation and guest lecturers scheduled for this tour may change due to unforeseen circumstances such as illness, political considerations or personal
emergencies.
In consideration of the right to participate in this tour, I hereby release Australians Studying Abroad Pty Ltd and its agents, associates or related parties from all responsibility for damages,
injuries, losses or delays due to any reason whatsoever and hereby assume all risks and dangers in connection with the tour.
Date
Signature(s)
DIRECT DEPOSIT OR CREDIT CARD PAYMENT OPTION
Mail or Email Payment Advice / Credit Card Authorisation to ASA
CREDIT CARD PAYMENT
DIRECT DEPOSIT
Should you wish to pay ASA by any of the
following credit cards the following fees will
apply:
ASA offers you a direct payment or internet banking
payment option. This allows you to transfer your
payment directly from your bank account to our
bank account. Please follow the procedures below:
Mastercard and American Express
Visa and Bank Card (Australia only)
Diners Club
1.95%
1.95%
2.70%
Please debit my
Mastercard
American Express
Visa
Bankcard (Australia only)
Diners Club
Authority to debit my Credit Card
for the amount due plus the applicable credit card fee.
NAME OF ASA TOUR OR COURSE
Credit Card Number
1. You will need to provide your bank with
ASA’s bank details (see below) and the
exact amount you wish to transfer.
2. Your bank will ask you for a reference number.
Please quote your last name or your mobile
phone number as the reference number.
3. Your bank will provide you with a
confirmation number which you need to
include below.
4. Once your transfer has been actioned
please complete the following and fax or
email this document back to ASA.
5. If you wish to go directly into any ANZ bank
to direct deposit your payment into our
bank account you will still be asked the
following details. Please then complete the
information below and forward to ASA
immediately.
6. Any fees levied by the banks are at your
expense.
Expiry Date
Australians Studying Abroad bank details
Security code on back of card
Bank
Branch
Bank the card is linked to: eg – NAB or ANZ
Type of Credit Card: eg Gold, Platinum etc
Swift Code
BSB
Account No
Amount including cc fee $
Cardholders Name
ANZ
420 St Kilda Road,
Melbourne Vic
ANZBAU3M
013-423
3472-32759
NAME OF ASA TOUR OR COURSE
Travellers Name
Card Holders Billing Address
Address
City
State
Postcode
Country
Phone
Email
Card Holders Signature
Amount Transferred
$
Bank Confirmation No.
Reference you used
Mobile or last name
recommended
Date Money Transferred
/
Travellers Signature
Date
Date
/
/
/
/
/
CONDITIONS OF CREDIT CARD PAYMENT
Monies Paid to Australians Studying Abroad P/L
It is a condition of the acceptance of any booking
that all monies paid to Australians Studying
Abroad (ASA) may be dispersed by ASA as and
when it sees fit for or in respect of the services to
be provided or fees payable to suppliers or
carriers, and the payment of a deposit or charge
card authorization for travel or related fees shall
be deemed to be a direction by the client to ASA
to disburse such monies as aforesaid.
Prices and Exchange Rate
Price justifications for travel are expressed in
Australian Dollars and are based on foreign
currency exchange rates, tariffs, taxes and fares
valid at time of quoting. These are subject to
alteration if there are fluctuations in rates of
exchange, tariffs, taxes or fares, or for other
cause, at any time.
Variations Of Conditions
ASA reserves the right to vary these Signatureon-File Conditions at any time, but no such
variation shall be binding unless made or
confirmed in writing.
Responsibility Clause
ASA acts as agent for the supplier or service
provider in booking or arranging all transport,
sightseeing, hotel accommodation and other
travel-related services.
ASA does not own,
manage, control or operate any supplier of
services. All coupons, receipts and tickets are
issued subject to the terms and conditions
specified by the suppliers.
By accepting the
coupons and tickets and utilizing their services,
you agree that neither ASA nor any of its
subsidiary companies or representatives shall be
liable for any loss, injury or damages to you or
your belongings or otherwise in connection with
any accommodation, transport or other services
or resulting directly or indirectly from occurrences
beyond its control, including breakdown in
equipment, strikes, theft, delay or cancellation or
change in itinerary or schedule, etc. Also
remember that travel documents, if necessary,
and compliance with customs regulations, if
applicable, are your responsibility.
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Refunds
Unused documents for which refund is sought must
be returned to ASA. Refunds are subject to airline
and other operator terms and conditions as well as
outgoings incurred by ASA. Because of procedures
these can sometimes take a minimum of 10 weeks
to be processed.
General Information
This authorisation is valid until your credit card
changes (ie: replaced due to lost/stolen card),
expires or is revoked in accordance with the Card
Account Agreement. We shall require you to sign a
fresh authorization if the card number as changed
due to replacement, if it has expired or if you have
revoked this authorization in writing, but then
subsequently decide to use the Signature-on-File
facility. If the credit card issued to you is cancelled
or authorization for the card is refused, you will
pay ASA any amounts outstanding for travel
services.
These terms and conditions in no way change or
affect your responsibility and obligations as defined
in the Card Account Agreement issued to you. In
the event any provision conflicts with a provision of
the Card Account Agreement, the Card Account
Agreement shall prevail.
Privacy of Information
Your personal details are safeguarded by privacy
law. ASA collects personal information from you in
order to organise your travel arrangements. We
may:
Share the information with companies related to ASA.
Disclose the information to various third parties
in the course of providing services to you or as
may be required by law or use the information for
other purposes where you consent to this. You can
upon request see your personal information which
we hold by contacting us. We would welcome any
feedback from you to correct any inaccuracies. You
can also access a detailed statement of ASA’s
privacy policies on its web-site at (web site details)
or obtain further information relating to ASA
privacy policies by contacting us.
Responsibility Clause
You have the option of not providing certain of the
information requested by ASA.
However, you
should note that this may prevent ASA from
offering all of its services to you.