HARIN COUNTY FREE LIBRARY

CLASSICS OF THE WORLD'S GREAT ART

31111001833894

The Complete Paintings of

Canaletto
Introduction by Notes and Catalogue by
David Bindman Lionello Puppi

* B B A M s

•jx- I

&

& .''.R
*
Jffl ;
!,'

'

nun us 1
™ ^SE 11 *! K *» "u SSpifSSSjl
. !

i
r » v

>^Jv^\
*r *
W:
 '1C70053

3 I I I I 00 183 3894

THE COMPLETE
PAINTINGS OF
CANALETTO
It is thanks to Canaletto, the painter of
views, that today we can know and
enjoy what many eighteenth-century
European cities looked His control
like.

of optical principles gives a panoramic

completeness to each scene; his
meticulous and sensitive touch
preserves the atmosphere, the skyline,
the very look of each place. Although
the demand put upon him during the
peak of his popularity may have affected
the quality of some of his work,
Canaletto remains the finest exponent
of vedute, paintings of views, one of the
great trends of eighteenth -century art.

This volume is invaluable both for its

catalogue, which describes the whole of
Canaletto's vast output, and for its
discussion of the history of the painting
of vedute, its techniques and its optical
devices.

David Bindman was educated at

Newcastle Royal Grammar School, at
Magdalen College, Oxford, at Harvard
University, and at the Courtauld
Institute of Art. He is at present
Lecturer in the History of Art at
Westfield College, London University.
He has written European Sculpture,
Bernini to Rodin and has compiled the
catalogue of the Blake Collection,
Fitzwilliam Museum, Cambridge.

64 pages of color
410 black-and-white illustrations

Cover illustration: Detail of The Bucintoro

Returning to the Quay on Ascension Day
 rm

TOl
flftlKrtrnfMi

DATE DUE
i

SUt. •
JUL 1 iqqn

ntc 2 6 1990
r*

'SK, i

1S! 7
WW 3

71C70053
MARIN COU.MTY LIB.IARY
q Canaletto, 1697-1768
759.5 The complete pai -ings of Canaletto;
introduction by David Bindman, notes and
catalogue by LioneLlo Puppi. Abraras
[cl968]
128p. (chiefly illus. (part col.),
facsims., ports.) (Classics of the
world's great art)

1. Canaletto, 1697-1768 I Puppi,

Lionello , IJ- Tltle
x^Canal, Ant
x Canale, AnrSnio
Antonio
LW 6/71 71-95195
 The complete paintings of

Canaletto

ntroduction by David Bindman

Notes and catalogue by Lionello Puppi

Harry N. Abrams, Inc. Publishers New York

Classics of the World's Great Art

Editor
Paolo Lecaldano

International Advisory
Board
Gian Alberto dell Acqua
Andre Chastel
Douglas Cooper
Lorenz Eitner
Enrique Lafuente Ferrari
Bruno Molajoli
Carlo L Ragghianti
Xavier de Salas
David Talbot Rice
Jacques Thuillier
Rudolf Wittkower

This series of books is

published in Italy by Rizzoli

Editore, in France by
Flammarion, in the United
Kingdom by Weidenfe/d and
Nicolson, in the United States
by Harry N. Abrams, Inc..
in Spain by Editorial Noguer
and in Switzerland by
Kunstkreis

Standard Book Number

8109-5504-0
Congress Catalogue
Library of
Card Number 71 -951 95
©Copyright in Italy by
Rizzoli Editore, 1968
Printed and bound in Italy
 Table of contents

David Bindman Introduction 5

Lionello Puppi An outline of the artist's critical history 8

The paintings in colour 15

List of plates 16

Bibliography 82

Outline biography 83

Catalogue of works 86

Appendix Other works attributed to Canaletto 123

Indexes Subjects and titles 124

Topographical index 125

Photographic sources Colour plates: Fogg Art Museum, Cambridge (Mass.); Lord
Chamberlain's Office, London; Marzari, Milan; Nimatallah,
Milan.
Black and white illustrations: Alinari, Florence; Rizzoli Archives,
Milan; Art Gallery of Ontario, Toronto; Courtauld Institute of
Art, London; Feruzzi, Venice; Gabinetto Fotografico Nazionale,
Rome; National Gallery of Art, Washington d.c; Parke- Bernet
Galleries, New York; Philadelphia Museum of Art, Philadelphia,
Pa.; Photo Flammarion, Paris.
Introduction
Canaletto was rarely short of enthusiastic patrons, but
academicians and serious thinkers about art held him
in little esteem in his own time and for at least a
century after his death. Sir Joshua Reynolds must
have been familiar with Canaletto's work, but did not
consider him worthy of mention in the Discourses to the
Royal Academy, while Ruskin saved some of his bitterest
invective for Canaletto,comparing him in imbecility
to Dutch animal painters. Only late in the nineteenth
century did he become academically respectable, and
regarded as worthy of scholarly study. The oppro-
brium that surrounded his name came from the very
qualities that we now prize in him. Canaletto's
painstaking precision and sensitivity to the nuances
of light were suspect to eighteenth-century connois-
seurs, because they were applied to the external
appearance of nature rather than its ideal structure.
Landscape that incorporated recognisable views or
buildings was considered to be merely imitative,
and, therefore, could appeal only to the senses and
not to the intellectual powers.
It is no coincidence that France, which had the
most powerful Academy and the most active debate on
matters of taste, should have shown no interest in
Canaletto, while England, to the despair of artists
who had been trained abroad, provided his most avid
patrons. Despite the efforts of many foreign artists
and some native ones, England was not to have a
regular system of artistic education until the founding
of the Royal Academy in 1768. The writings of
Shaftesbury and Richardson had earlier been in-
fluential in associating the contemplation of "History"
painting and the remains of Antiquity with virtue and
high-mindedness, but many noblemen who took the
Grand Tour were cheerfully unconcerned about the
educational purpose of their visit to Italy, and became
captivated by the colour and pageantry of Venice.
Venetian painting had, from as early as the fifteenth
century, been intimately bound up with the public
ceremonies that so dazzled the rest of Europe. The
Bellini family had been engaged on large paintings
of processions in which the city of Venice was lovingly
depicted, while familiar landmarks like the Doge's
Palace are often to be seen in the background of
paintings by the great Venetian masters of the six-
teenth century. In no sense, however, could these
masters be called vedute painters, and only in the
seventeenth century, as the ceremonial became more
nostalgic with Venice's economic decline, did the
picturesque qualities of Venice and its way of life
become a pictorial subject in its own right.
The first fully identifiable painter of vedute was the
northern artist Joseph Heinz, who was born c. 1600.
Heinz made a number of paintings of festivals within
the familiar setting of the canals, but it was with Luca
Carlevaris (1663- 1730) that vedute painting became a
genre in its own right, so that one could talk about a
school of vedute painters in Venice who were quite
distinct in manner from those who recorded other
towns. Carlevaris virtually created the conditions that
allowed Canaletto to flourish, and the latter's rise was
initially at the former's expense. Carlevaris opened
up the market to English patrons and, like Canaletto,
and Francesco Guardi after him, he offered not only
views of the principal landmarks of Venice, vedute
prese da i luoghi but also vedute ideate in the form of
purely imaginative landscapes, or, more distinctively,
compositions made up of the fanciful juxtaposition of
5
 INTRODUCTION

familiar and unfamiliar buildings. It is difficult to be Roman views, probably derived from his own youth-
certain of the extent of Carlevaris' influence on Cana- ful drawings and engravings of Rome available in
letto, but it is was regarded as the
clear that Canaletto Venice rather than from a visit to Rome. Most of the
older painter's principal challenger,and in 1725, it Roman views remained in Joseph Smith's collection,
was noted by a commentator that the younger artist which he eventually sold to George ill, and it is
had surpassed Carlevaris on his own ground, because possible that their lack of commercial success led
of the superior luminosity of his paintings. Canaletto to seek fresh pastures in England.
Canaletto's early reputation for truth and freshness He arrived in in May 1746 amid a certain
London
based on direct observation has not been challenged enthusiasm, but almost immediately the scurrilous
to this day. In the Stonebreaker' s Yard (Plate xxm), a suggestion was put about that he was an impostor,
masterpiece of the 1 720s, topographical accuracy is partly because of confusion with his own nephew,
tempered by a warm, luminous atmosphere, while the Bernardo Bellotto, who had adopted thename Cana-
figures are painted with a good-humoured vitality letto himself, but also because of an initial and not
that would not be out of place in a Dutch painting altogether unjustified disappointment with his first

of the previous century. The stonebreaker's yard in the English views. Even he quickly found important
so,

foreground is almost symbolic of the organic relation- clients, and until about 750 he was occupied on
1

ship between the activity of the figures and the build-
ings that arise out of it. By the second half of the
decade he had been discovered by the English,
initially in the person of Owen McSwiney, an
impresario of the arts, and later by his friend Joseph
Smith, who was to be British consul in Venice.
The relationship between Canaletto and Joseph
Smith remains rather shadowy, but it was clearly
based on mutual self-interest. English aristocrats had
already shown a notable enthusiasm for Canaletto's
work, and there is little doubt that Smith was the
views of London, and country houses as far afield as
Alnwick Castle in Northumberland. His English
works are always incisive and often strikingly com-
posed, but he showed little sensitivity to the special
atmosphere of London, and some English connois-
seurs felt that there were English vedute painters
who could paint just as well and certainly more
cheaply. To some extent, Canaletto's reputation was
submerged by the rising tide of chauvinism and the
growing resentment, fomented by Hogarth, against
the domination of foreign artists. After 750, his 1

middleman in a number of major transactions in the career in England becomes harder to trace, and it is
1730s. Despite his erratic personality, Canaletto not known exactly when he returned to Venice,
succeeded admirably in keeping both the supply and although it was probably about 756. 1

the demand at full pitch, but with unfortunate In Venice, he remained a respected figure, but the
artistic consequences, for there is a notable decline in English, who had been drawn to Venice by the
quality in the later 1 730s. The figures are often reduced Palladian revival in the earlier part of the century,
to calligraphic squiggles, and the buildings seem to were now more likely to see Rome as the culmination
owe more to a study of earlier Canalettos than to of the Grand Tour. They spent their money on
fresh contemplation. It is likely that at this time he dubious antiquities, that conveyed more the aura of
used the camera an aid, but in a strictly limited
ottica as learning than view paintings, and they are perhaps
way, and that he employed a number of assistants, commemorated better in portraits by Pompeo Batoni
although at present virtually nothing is known of showing them standing against the background of the
Canaletto's studio organisation. Yet, for all the over- Colosseum or discussing the merits of the Apollo
production in the 1 730s, and the demand for the most Belvedere, than they are by their own purchases.
obvious landmarks, the standard was sometimes Canaletto continued to paint vedute either for himself
remarkably high, even through a series of twenty-two or for a dwindling clientele. His last works are seldom
paintings for the Duke of Bedford. dated, but scholars have recently become more
In 740, the War of the Austrian Succession cut
1
confident in identifying Canaletto's late syle, which
down the number of tourists from England and Ger- is more likely to be confused with his early work than

many, and possibly under the advice of Joseph that of the intervening period. In the two small paint-
Smith, Canaletto began to diversify his production in ings of St Mark's Square towards the Basilica from the
order to open up new markets for his work by produc- South-west Corner, and from the North-west Corner {Cata-
ing more vedute ideate. He even painted a series of logue, 318-9) in the National Gallery, London,

6

Venice is no longer seen in the unchanging sunlight
of the middle period, but in terms of strong light and
shade. The calligraphic highlighting of the figures,
which appears mannered in the English views, now
adds an element of mordant humour, and their realis-
tic gestures contrast with their seemingly arbitrary
method of construction.
Canaletto's death in 1768 did not mark the end of
INTRODUCTION
vedute painting, which flourished well into the nine-
teenth century, but only the end of the classical
phase. Just as Tiepolo brought a lighter and more
informal construction to "History" painting in Venice,
Francesco Guardi softened Canaletto's ruled edges by
a painterly handling that anticipates the freer and
more natural landscape of the nineteenth century.
DAVID BINDMAN
 An outline of the artist's critical history
Canaletto's favour with critics is witnessed by early expressions of
general approval and even, at times during the artist's life, by
professions of reverent admiration. These early judgments may
be understood to be based on ready perception of his skill in
"painting views of Venice" [De Brosses, 1 739] and of his "under-
standing and mastery ... in the art of so perfectly rendering and
imitating the real" [Guarienti in Orlandi, 1753]. They are also
connected with, and to some extent even influenced by, current
tendencies in the art market, especially the Anglo-Saxon,
[McSwiney; Vertue; etc.] which was concerned with the
painting of views as a faithful representation of particular
places, either the goals and stages of the common touring routes,
or of familiar spots dear to those wealthy classes which naturally
constituted the principal clientele of the master. But there was,
at the same time, a continual movement to redeem Canaletto
from his position as a "virtuoso" [Tessin, 1 736] in a minor genre,
the only excellence of which was to render a given reality with
rigorous attention to exact copying - and to exalt his work to the
highest levels of originality and painterly grandeur. Burney's
words [1771] are the first sign, but Zanetti immediately empha-
sises the "great art" employed by the master in his choice of even
positional scenes and in his "handling of light and shade". At the
same time, Lanzi contrasts the judgment of "the common viewers"
who are able to distinguish only "nature" in the master's works,
with that of the experts who perceive "art therein". From
time, too, there was a continual struggle to explain in useful
terms Canaletto's employment of the camera ottica and his ability
to transform its data into expressive and original features. The
purist rigours of neo-classical culture did not halt Canaletto's
fortunes although it tended to underline, and at the same time
deplore, his irregularity, which payed less than dutiful respect
to the holy "laws of perspective" in the organisation of images
[Ticozzi, 8 18]. If anything, it was the romantic movement- on
1 ad quern of long intensive criticism. They have also served as a
historical grounds that contested too great a brilliance of illumina-
tion, of a kind that must have been noted as vividly realised in the
best views of Canaletto that openly revealed disagreement, and
found an aggressively resolute leader in Ruskin [1843]. On the
... Mr Ant. Canale who astounds all in this country who behold
his works, which follow the tradition of Carlevaris except that
we can see the sun shine within them . .
a. marchesini, Letter to Stefano Conti, July
8
other hand, we know that Turner never concealed his admiration
for the Venetian master whom Whistler did not hesitate to com-
pare with Velazquez; while Le Blanc [1854] did not scruple to
express his own enchantment, especially in front of certain
etchings by Canaletto which were "steeped in light". Not even
critical reception by the impressionists (we know that Manet
was an admirer of Canaletto) which effected a startling reaction
in the fortunes of Francesco Guardi, caused a real eclipse of
Canaletto's favour. Damerini's attempt [191 2] to relegate him
did not find any followers: it happened, in fact, about the same
time as the first tentative monographs appeared, those by
A.Moureau [1894] and O. Uzanne [1906]. This century has
witnessed an intensification of enquiries, at every level, and a
movement to establish a corpus of documents and definite
ascriptions which has been enlarged and reinforced by the
important reassessment of Canaletto's graphic work, previously
rather neglected. There has been a similar movement in studies
aimed at the clearest possible scrutiny of the painter's art, at a real
understanding of all its richness and difficulties, its historical
significance and values. This has been achieved above all by
disentangling the processes of composition and its developments
in a context which is rich and bursting with stimuli. In this way
much light has been thrown on the late work, which was dis-
carded earlier or misunderstood, and much discovered about the
this early works which are much more important and original in
linguistic complexity and stylistic quality than was formerly
believed. Considerable attention has also been given to the
imaginative character of Canaletto's art, amply revealed by his
taste for "ideal" views. His creative processes have also been
examined (the use and real function of optic instruments, etc.)
with important results. The exhibitions in Toronto (1964) and
Venice (1967), although incomplete have revealed the terminus
balance sheet from which, thanks to the ready assemblage of an
important, evolving complex of works, we can assess Canaletto
in his true historical role. He must indeed be counted as one of the
most outstanding figures in European art in the eighteenth century.
I hope you will like them [some pictures by Canaletto] when
they are finished. Perhaps I am rather too demanding in my
choice as out of twenty I have rejected eighteen; I have moreover
1 725 seen several sent to London for which I should neither find room
 AN OUTLINE OF THE ARTIST S CRITICAL HISTORY

at home nor give two pistols. He's a covetous, greedy fellow and famous cities composed of houses of different magnitude, orders
since he is famous, people are content to pay as much as he of architecture, ages and materials.
demands. ch. burney, The Present State of Music, 1 77
o. mcswiney, Letter to John Conduitt, 27 September 730 1

Canaletto united pictorial liberty and nature with such economy

A painter of views with whom, and
in intelligence, taste truth, that his true works are obvious to those who have no more than
few recent and no contemporary artists may be compared. common sense to judge with; while the connoisseur all the more
a. m. zanetti, Descrizione di tutte le pubbliche pitture ... 1
733
finds great art in them in the choice of sites, the distribution of
figures, and shade; and in addition, a
the handling of light
...The Venetian School is apparently doing very well, and lucidity and piquant facility of colour and of brushwork, the
prices in Italy are high; but there are few or none among all effects of a calm mind and happy genius.

those "virtuosi" who carry conviction. We review these

will a. m. zanetti, Delia pittura veneziana, 1 771
gentlemen if you wish. 1st Canaletti, Painter of Views, whimsical,
intractable, "Baptistise" [sic?] who sells collectors' pictures
. became renowned for his skill in painting views and for a
. .

long time practised painting of this genre. The finesse of his touch,
(since he paints no other kind) at up to 120 pieces and who has
engaged himself to paint for four years for an English merchant the truth he gave it and the singularity of his viewpoints made
called Smith. To be discarded. them objects of quest for many foreigners, the English above all,
for whom he worked a good deal. He went twice to London where
c. g. tessin, Letter to C. Horleman, 16 June 1 736
he filled his pockets with guineas. He worked in the style of
As for Canaletto, his speciality is painting views of Venice: a
van Wittel, but I deem him superior.
v.]. marietta, Abecedario [before 1774] 1851—
genre in which he far surpasses any other artist ever. His manner
is gay, lively, clear and wonderfully detailed. The English have
He loves a grand effect, and
he retains something
in achieving it

so spoiled him by offering three times as much for his pictures as of Tiepolo who at times gives and wherever hehim his figures
he himself asks, that one can no longer afford to buy anything uses his brushes, be it buildings, water, clouds or figures, he
from him . .
bestows a vigour which is manifested by drawing objects from
ch. de brosses, Lettresfamilieres . . .
1 739 their most imposing viewpoint. He employs a certain pictorial
licence, although with restraint, and in such a way that the
Latter end of May came to London from Venice the Famous common viewer finds nature, the connoisseur art therein. This he
Painter of Views Cannalletti of Venice. The Multitude of his
... possessed in an outstanding degree.
works done abroad for English Noblemen & Gentlemen has l. lanzi, Storia pittorica della Italia [4th ed.] vol. Ill, 1818
procured him great reputation & his great merrit & excellence
in that way, he is much esteemed and no doubt but what Views Nobody could portray objects so vividly, nor with greater effect,
and works He doth here, will give the same satisfaction . . although not always within the limits laid down by the laws of
g. vertue, Notebooks, 746 1 perspective.
s. ticozzi, Dizionario deipittori ... 1 8 1

After studying for a spell with his father, a painter, he went

whilestill a young man, to Rome. There in a few years, by The mannerism of Canaletto is the most degraded that I know
unwearying application to exact drawing and through his in the whole range of art. Professing the most servile and mindless
wonderful taste in depicting the fine, old buildings, he achieved imitation, it imitates nothing but the blackness of the shadows;
such understanding and mastery in painting on canvas that few it gives no single architectural ornament, however near, so much

earlier artists and none of our moderns could equal him in the art form as might enable us even to guess its actual one ... neither I
of so perfectly rendering and imitating the real. nor anyone else should have dared to say a word against him
p. guarienti in p. a. orlandi, Abecedario pittorico 753 , 1 but he is a little and a bad painter, and so continues everywhere
multiplying and magnifying mistakes . .

This building [the Rialto bridge, as it was designed, not executed, j.ruskin, Modern Painters, 1843-60
by Palladio] rightly praised by its designer, painted and sun-
washed by Canaletto's brush, which I myself used - I can hardly Canaletti's painterly qualities can be found almost entire in his
describe the wonderful impact it makes, massively reflected in graceful etchings, steeped in light... The figures of Canaletti -
the water below You may be sure that there is a goodly
. . .
and this is where we can easily see that he was quite capable
number of boats and gondolas, at which Canaletto excels, and himself, without having recourse to the help of Tiepolo - are
everything else that enables the viewer to imagine himself in engraved with incisions that follow their shapes, that follow them,
Venice; and I can tell you that many a Venetian has asked what perhaps, too slavishly ... On the other hand, Canaletti is a true
part of the city it was that he had not yet seen. exemplar of the way to engrave architecture and to render the
f.algarotti, Works (Collection of letters) 1765 movement of waves . .

ch. le blanc, Manuel de l' amateur d'estampes, 1854

We form such romantic ideas of this city from its singular situation
about which we read and hear so much that it did not at all The ascendance of the painting of Francesco Guardi over that of
answer my expectation as I approached it, particularly after Canaletto and Longhi is not a consequence of fashion but the
seeing Canaletti's view all of one colour: for I find it like other result of an artistic accident. Guardi, in fact, conquers our
 8
2 . 1

AN OUTLINE OF THE ARTIST S CRITICAL HISTORY

spirit just when this spirit of ours already finds Canaletto anti-
quated and excessively stiff, Pietro Longhi often infantile rather
than innocently limpid... In other words, while sympathy with
Canaletto and Longhi diminishes and we discover more than a
little inherited love for them and submission to what has been the
general consensus for over a century and a half, appreciation of
Francesco Guardi increases daily.
G. damerini, V
arte di Francesco Guardi, 1 9
Canaletto [the engraver] does not look for intense blacks: he is
exponent of the style of view painting followed by the Bibbienas
and of the paintings of Roberti, Ghisolfi and Locatelli. This
painting, which excluded the use of dabs of colour, and had more
in common with draughtsmanship than with free art was
rendered even more systematic by Canaletto with his use of the
camera oscura ... Fortunately for him, the painter was also blessed
with a rich sense of colour, a taste tor the airy and picturesque
1 which in the early works leads us to expect him to accomplish
the finest expressions of the picturesque... His "documentary"
vision enlivened by the richness of his touch, splendid contrasts
is

the master of silver greys within which the light expands in wide
waves. Everywhere the paper can be seen. Curved down like
little waves, the objects seem to sway in rhythm, they move
about, receive and reflect the sun, give the very essence of the
atmosphere which undulates around the shapes and permits us to
of light and shade, fine variety in his skies, and a wealth of
human elements. No trace of the "porcelain" quality until the
great Roman view of the Colosseum, and the one of Hampton
Court, dated 1743. But after his journeys to England, Canaletto
stiffens, becomes increasingly precise and meticulous in line,

conceive them not as dry figures defined by planes, but as volumes mechanical in dabs of impasto, which are reduced to spherical
hanging in a changeable dimension ... Mariette reproaches balls of pigment, to commas, no longer the stylised, but vital
Canaletto "too uniform and too delicate a touch", and he is figures of the early paintings . .

unjust. G. fiocco, La pittura veneziana del Seicento e Settecento, 1 929

h. focillon, Piranesi, 1 9 1

A drawer above all, Canaletto found etching a direct means of

There is no scene painting in Canaletto: he entirely submerges expression especially suitable to his vision of light and shade; and
himself in the country, and there between water, stones and skies, we might go so far as to assert that in this respect his paintings are

he rediscovers his painting as fresh as things born at that moment. inferior to his prints. In fact, the master lines of his architecture
Bound "the view",
to the tradition of his elders, restricted to remain rather even under the colour of his paintings,
inflexible

which the enchanted traveller wishes to carry away with him, the but blend in a perfectly natural manner among the engraved
basis of his conception indisputably lies in linear perspective ... lines of his prints.

All around him Venice sparkled too brilliantly: while over and a. calabi, L'incisione italiana, 1 93
above that exact, linear perspective, not moulded as in scene
...I prefer to see so much as the precursor of modern
him not
painting, he distilled and poured out the atmosphere of the
landscape, copied from nature, but rather as the
the kind
lagoon. Here was to flow the triumph of colour. He found in the
originator of his own brand of monumental landscape. The
atmosphere a softening for the edges and a sweeter fusion for the
plainness of the realist, with which he sets out, is only the begin-
conjunction of too rigid parallel lines, and he found in it the
ning: but in giving meaning to views and in his choice of view-
vehicle for light which at times hangs in the air, imprisoned by
point and perspective he is a builder, a poet of light who tries to
humid vapours, like a veil drawn between us and our vision of the
catch all the clarity of sunlight in his distances. Sometimes he
objects. The life of pale stones, in the light, along the stretches of
smooths his paint like a Dutchman; sometimes he impetuously
water, between the spray of the sea and the breezes of the
salt
heaps up layers and even clots of colour, especially in his fore-
lagoon, was the subject of his painting. As refined as an epidermis,
ground figures. I have heard him bracketed by recent inter-
as porous and full of puckers as it, silky like it, even in the wrinkles
preters, whose exaggeration I admit not without sharing it a
so finely drawn by his brush, his textures clothed like living
with the monumental masters of the Italian classical art,
little,
garments the forms of his preliminary drawings. As for the
like Masaccio But if most people do not yet know his real form
. . .

minute details which perspective does not include in its discipline,

and power, it is because his views are so agreeable that one is
a flashing gondola, a beggar on a step, a leaning pole, a limp sail,
distracted from considering his real artistic worth and because
a crumbling bridge - for these he finds touches of careless brio
too many canvasses pass as his which are not by him at all.
which may amaze the man who has not noticed how vivid and
g.fogolari, II Settecento italiano, 1932
compact is the smoothing and flattening of his scenes of houses.
L. dami, La pittura italiana del Seicento e Settecento, 1924
Of the Venetian some are not free from artificiality in the
views,
waves and buildings: but most of them astonish, by the freedom
While there was a rebirth Venice ... of the art of landscape, the
in
of their brushwork, the well-judged finesse of their tones and the
art of painting views reached one of its highest peaks with immensity of their atmosphere in which the sun's light is filtered
Giannantonio Canale, called Canaletto. Learning theatrical
through a silvery haze.
painting, he deliberately dedicated himself to a programme which
u. ojetti & l. dami, Atlante di storia dell' arte italiana, 1 933
only a mature mind could have conceived. A programme which
is both the strength and weakness of his art. He was at once It seems to me that one can perceive in the paintings as well as in
convinced of the worthiness of his plans by the somewhat cold, the engravings the bold anticipation of impressionism, not only
but financially rewarding example, of Luca Carlevaris. He was because of the special attention Canaletto gives to light and
encouraged too by that of Giampaolo Pannini - not much shade, but also in the way that the objects - which are viewed
warmer but more expert - whom he got to know in Rome, from much closer than was customary - react upon each other.
whither he immediately set out. The latter was the greatest m. pittaluga, "Le acqueforti del Canaletto" in L'Arte, 1934

10
 AN OUTLINE OF THE ARTIST S CRITICAL HISTORY

...[he] reveals a calm spirit, gently ecstatic, a slight touch of Canaletto's etchings, which as specimens of Venetian art may be
elegiac melancholy: a spirit which yields to things and at the compared in quality only with those of G. B. Tiepolo and Piranesi
same time places them in strange and, in a manner of speaking, owe their astonishingly new character to the function of light, on
unnatural proximities. which everything in them depends their effects of volume, space,
:

d. valeri, "La mostra degli incisori del '700", in Le tre Venezie, line and feeling. This function is revealed in various ways, even
i94i if the contrary has generally seemed true. Whereas sometimes

the light coincides with a wide, golden spaciousness which

...he builds by dreaming on the visions of his imagination.
contains no shadows, at other times it creates chiaroscuri.
Canaletto contemplates the different aspects of reality on which
These, however, are without contrasts since the shadows them-
he reposes his calm joy. With him particularly there begins a
selves contain light by the various interplay of planes. At other
new manner of seeing, or rather of beholding and rendering. To
times still, it exerts a dissolvent power over objects, in a distinctly
distinguish Canaletto from the real view painters who were his
modern manner. According to the various instances, which as
contemporaries, it has been generally remarked that his essential
listed here do not amount to much, light becomes the absolute
novelty was in finding an arbitary viewpoint, frequently chosen
disposer of these compositions, and intensifies their spaciousness
for personal caprice, unlike the formalised vantage points of
sometimes to the point of destroying every veil of the atmosphere.
perspective taken up by the mannerists. But the real distinction is
Or else it attenuates the sense of space precisely by means of the
something quite other than such practical resources: it is his
atmosphere; or it merely suggests it by evocation. It gives feeling
moral state of mind which permits him a lyrical transposition of
to the objects and, on the other hand, crystallises the movement
the subject viewed. It is just the effectiveness of his dealing with
of figures in the immediacy of a moment, to intensify their feeling.
the subject which most often maintains him in that state of grace.
In every instance, moreover, through his patient, careful,
All the silvery wash of reflections in sky and water are a vehicle
highly-skilled work, the contained emotion, equilibrium and
by means of which he conveys to us the sweetened, contented
moral seriousness of the artist are felt as he applies himself to
state of his mind.
every detail of the work.
A. de wi'tt, L'incisione italiana, 1 94
M. pittaluga, Acquafortisti veneziani del Settecento, 1952
We get the strong impression that Venice was really the kindly
muse of Canaletto's painting. Here no molecular atmospheric
is
Prevailing taste once again asks for the lively detailed little can-
vibration such as we find in Francesco Guardi by whom the city
vasses of the Venetian view painters, above whom Canaletto
is transformed into an imaginative, whimsical vision. Instead
rises just as he dominated his own times. The Canaletto view of
there is a calm delight in the exact depiction of certain monu-
Venice is a happy vision filled with sunlight, to which he gives
mental and scenografic views, a delight expressed according to
expression by combining the play of actual light with an imagina-
the strictest cannons of perspective, and refreshed with a warm,
tive vitality which is constantly repeated yet always new. This
harmonious, almost sensual limpidity.
is the secret of all the artist's graphic work, including the engrav-
r. pallucchini, Canaletto e Guardi, 1941
ings and all the many drawings. Of the latter there are examples
We must, while considering the etchings of Canaletto, bear in of every possible kind from rapid pencil jottings to perspective
:

mind the quality and character of his artistic personality. It is sketches, from dotted studies to finished drawings, which fetch a
the very fullness of feeling for figures allied to calm contempla- very high price. For Canaletto the graphic image is not merely a
tion of the view points afforded by man and nature which in means towards attaining poetic expression, it is often pure poetic
Canaletto assumes a shape, becomes substantial, defines itself expression itself... In our belief there are few other drawings
and recreates itself with the same sense of poetry, in the paintings (apart from those of his contemporary Tiepolo) which can convey
as in the etchings, in colour as in black and white . . . They . . . make such intense fields of brightness and white sunlight.
no explosion, they do not, in other words, exhaust themselves t. pignatti, // quaderno di disegni del Canaletto alle Gallene di
in one moment of isolated creation, but are the expression, Venezia, 1958
graphically executed, of the poetic feeling of Canaletto.
R. pallucchini, Le acqueforti del Canaletto, 1945
...Canaletto is more than this. He is not only the poet of the
The great Antonio Canal... set out from the dry Roman "view" abstract poetry of pictorial material, or of the graphic "gesture"
in the style of van Wittel and Pannini. Then, to acquire greater for its own sake. He has sufficient breadth of vision to take as a

truth, he made use of the optic camera, and

once transformedat
everything, miraculously, into poetry. When one thinks that
sixty years earlier the landscapes of Monsii Cussin were in vogue,
while in Holland Vermeer was painting his views of Delft, one
begins to understand the level to which Canaletto had now
raised Venetian painting. That sureness and absolute truth in
motif the "photographic" datum (which he then inserts afresh
into the vivid play of his imagination), even in those instances
where he appears to have been passively influenced by it. On the
contrary: if one wanted to separate this very photographic
element mentally and give it a separate value, that is, to abstract
it - by reversing the procedure followed before - from the quality

illumination which he turned on the golden light, with its
oblique bars of shade, of the useless afternoons in a Venice which
crumbles and cracks like the wrinkles of his marvellous engrav-
ings, are filled with the far-sighted sadness of views of the "new
world".
R. longhi, Viatico per cinque secoli di pittura veneziana, 946
of the material and from the character of the sign, we would have
to recognise the presence in his work of almost all those requisite
qualities we look for in a photograph when we wish to consider
it"a work of art". Thus we may well believe that Antonio
Canal would have been most eloquent with a Leica camera (or
1 cinematograph), for he knew in so far that he was able to relate

//
 AN OUTLINE OF THE ARTIST S CRITICAL HISTORY

them eloquently within the economy of his finished work how to with this in mind
bound to realise that an analysis of this aspect
is

make those images speak that he had previously taken bodily which is almost self evident, of Canaletto's art reveals that the
from reality or at any rate derived by mechanical means. His artist was fully aware in his manipulation of a composition. That

choice of subject, time, atmospheric condition, his prepared is why the other modes of painting should also be separated out

angle of view, sagacious cutting, incidental use of distance and and studied, modes which fulfil different aesthetic require-
wide angles, and carefully selective recourse to "photomontage" ments and which eventually, when combined with the com-
are sufficient evidence of his real originality: they are the marks plexities and suppleness of the preceding ones, give Canaletto a
and emblems of the artist's imaginative freedom. They are (in less tranquil, contemplative look than is generally attributed to
his case) the originality of the photographer of genius; of one him. He emerges, in fact, all the more intensely dramatic
who builds his argument by using view points and fragments of precisely in consideration of the relatively small number of his
visible reality like words (or of the director who mounts his own themes and views.
show and assigns different parts to a particular skill according to c. L. ragghianti, "Procedimento del Canaletto", in Sele Arte, 1959
his own judgment). And this originality is the greater in so far
that others had taken only a few steps, and those uncertain, along The wonderful precision and glowing purity of the smallest area
this path. So he merits the title of innovator even more, since it is or shortest line will remain, in these divine paintings, amongst
only with Canaletto that the paradigm of photographic truth the greatest achievements of a civilization at the height of its
really begins to play a part in the history of painting, by employ- powers. Only a painter who was the rightful heir to all Italian
ing every means in its power to come to terms with it. painting could succeed in fusing Italian view painting and the
"Graphic" and "photographic" originality. Although separ- genius of Vermeer in a formal conception of such daring perfec-
able as ideas, the language of "the true" and "the sign" appear tion. It will be immediately clear that the simplest interpreta-
totally integrated in Canaletto's work, although in a vision which tion, namely that Canaletto's unique ellipse of light and colour
achieved unity only after long periods of alternating phases. is derived wholly from his incomparable virtuosity in drawing

And the medium that resolved its contraries and enabled them to
become one whole, can be found in the ever fresh vitality of the
European tradition of painting; upon the course of which his art
acts historically and follows without any visible breaks or
interruptions.
Nonetheless, Canaletto also represents the first clear skirmish,
the first disturbing premonitory symptom of the instrumental
crisis which was openly declared only a century later. In another
century of wearing out tradition and perfecting mechanical
methods the result of this vision was the separation, in our own
day, both materially and visually, of the two terms that had
previously only been considered separate in thought. And its
final fruit were informalism on the one hand and, on the other,
technicolor.
D. gioseffi, Canaletto. II quaderno delle Gallerie veneziane e I'impiego
della camera ottica, 1959
. Together with the views of diagonal or telescopic composition,
. .
all of them [compositions that are constructed and arranged
according to a large, simple compass with a lateral climax, and
views looking forward or towards a background] are more or less
personal solutions of a historical preoccupation, whether Italian,
Venetian (view painting) or Dutch. The presence of a formal
discussion of such severity, so rich in inflexion and invention
should cause no surprise since the development of "view"
themes, such as were founded and elaborated in the Renaissance,
is accomplished via an extensive theoretical and artistic argument
in Dutch painting of the seventeenth century: in its landscapes,
exteriors and interiors. But it is worked out in tones very different
and etching, must be discarded. It is clear that, in the continuous
evolution of Canaletto's style towards maturity, drawing and
painting are but phases of a single vision: nor may one deduce
that his painting derives from the fact that a drawing precedes
the corresponding finished painting chronologically. The one
was the work of the artist, the other of the formal intention. His
particular stenographic ellipse is not the fruit of some drawing
formula, of entrusting, that is, the whole burden of the image to
the line, but of incontrovertible spatial necessity ... according to
which light and shade, to determine the stereoscopic view, must
continually be advancing or retreating in relation to the object
they refer to: they must be detached from it and retreat into the
depths whence every modulation of chiaroscuro or form has to
be resolved by juxtapositions, echelons, and sharp overlappings.
It is in accordance with the degree to which the smallest white
dot (a nose, maybe, or a button) emerges more than it ought - so
to say that he succeeds in establishing the spatial nexus of the
whole image and the density of an object, without recourse to any
intermediate terms. Whoever criticises Canaletto for that has
failed to understand the depth of the formal, not imitative,
search which is always the guiding power of his painting. With-
out that special ellipse and refined technique akin to that of
marquetry neither Vermeer nor Canaletto would have succeeded
in achieving their matchless sense of space which reverberates
like the sea. This is no superficial spatiality, it does not claim its
existence through the effects of light: rather, it makes use of the
light as a defining agent. It is in those points of light which
sparkle like chaff that we find proof of the success of his method ...
This anything but naturalism, manual objectivity, or passive
is

from those of the heroic, historical landscape of traditional optic virtuosity. As for those "ideal views", as he himself called
sixteenth century, Venetian composition, such as that elaborated them, which were sometimes mere compositional caprices and
above all by Annibale Carracci and Poussin. If we do not take sometimes followed Pannini - they have always caused his critics
this line of culture, on which Canaletto based his work, into considerable ill-concealed anguish. For they have always wished
consideration we are less able to understand, or run the risk of to see the real Canaletto only in the man who seemed to be
misunderstanding an essential quality of his art, a much deeper copying nature exactly ... what a stroke of luck for those who
and more complex art than is allowed by those who consider him long to see in him the conscientious forerunner of impressionism,
in terms only of "petit-maitre". But whoever looks at his works ever "en pleinair". c.brandi, Canaletto, i960

12
 AN OUTLINE OF THE ARTIST S CRITICAL HISTORY

...After visiting Rome in 17 19 and again in 1740 he imitated instantaneous impressions and ideas in a few essential strokes.
Pannini and embarked on exercises in perspectives with a But if we progress however implicitly from this attitude, which

rigorous, unyielding perception of light and dense volumes. The may be entirely reasonable, to that of setting aside certain
series of etchings he made reproduced these qualities even more finished drawings just because they are so, we run the risk of
emphatically. He may be considered the master of traditional inverted academism and of misunderstanding not only Cana-
topography ... Subsequently he turned to artifice, composing letto's historical position, but the results that he achieved in
ideal views for Algarotti, on the theme of famous monuments. those drawings. It is useless to contrast lyrical impetus with deli-
They are extremely cold. berate planning: far more important
to recognise just where,
A. chastel, // Settecento veneziano nelle arti, 960
1 even in most finished drawings there are unmistakable
the
vibrations of poetic feeling, even when all the instruments and
calculation that Canaletto used in other pictures and engravings
The usual conception of Canaletto as primarily a painter, and have been employed in them.
more particularly a topographical painter is, on the whole v. moschini, Canaletto, 1963
justified; but it needs some modification to obtain a just view of
his position as an artist. Many of his drawings, among them some
of his were made as ends in themselves quite independently
finest,
Canaletto's was a warm, calm genius similar to Tiepolo's, whom

of his paintings; and as an etcher he was highly accomplished.

he also resembles in colour and in the sunlit brightness in which
he visualises everything. There is no agony in his pictures exact,
So, had he never put brush to canvas, he would still have ranked
:

sure, almost mathematical craftsmanship, but one pervaded

as a considerable master of the graphic arts
Opinion concerning his topographic work has varied widely. by a purifying and limpid sensibility, makes it all astonishingly
Once he was regarded as little more than a photographer; today, humane. It is precisely in this antithesis, this function of opposites,
that the originality of his painting is to be found. This it is that
there is a tendency to accuse him of frequent inaccuracies. In
most of his paintings he was astonishingly close to the facts in raises him even above many fine Dutch painters, this transcend-
ence of the object in view, the greater feeling and more intense
detail. His concern with these is witnessed by the many dia-
spiritualitywhich inform his depictions of a view, a landscape
grammatic drawings he made, notably those in the sketchbook in
the Accademia, in which not only are details carefully indicated,
and even a perspective. Historically his case, if we except that of

but frequent notes are added to identify buildings and to record

his nephew Bernardo, is unique. Canaletto is certainly not a
typical representative of the rococo: he is not like the Guardis
colour
Canaletto did not wholly confine himself to topography. In the nor does his painting foreshadow the imminent romantic mood.
inscriptionon the frontispiece to his etchings, he himself makes If this ... happened occasionally (as in some extraordinarily free
caprices) seems to have resulted from external suggestion and
it
a distinction, between vedute prese da i luoghi and vedute ideate,
not from the depths of his own spirit. Because of that guise of
emphasized by occasional notes on his drawings such as veduta
almost mathematical precision in which he presented himself
esatta and veduta dal naturale. In his hands, the veduta ideata took
to his contemporaries, he was as acceptable to the followers of
two main forms: the imaginary view proper, and the capriccio,
"luministic" painting as to the disciples of the recent neoclassical
a collection of identifiable motives from different buildings or
localities, arranged into a composition. The difference between
aesthetic. For us, today, Canaletto is still the greatest master of

the two is easy to recognize in extreme cases .Usually, however,

. .
"real views". Nobody could paint the objective reality of that
strange composition of water and stone which is the city of
imaginary and identifiable elements were mixed . .

Venice as pictorially as he: nobody could paint its tense, bright

w.g. constable, Canaletto, 1962
sky with greater purity. So with the glow of the sun on its
it is

red stucco and white marble; thus with

the silence of its squares

In the basic group of drawings, now

Windsor, which Canaletto
in
and motionless boats And so again is
. it with the vast skylines
. .

passed to the Consul Smith and which were mostly done at his over the Thames and the parks of England a sun, a light, a :

commission, although the relevant documents and definitive transparent almost tangible atmosphere, which can never be
preliminary sketches are missing, there is a notable difference seen.

in the character and extent of finish. This must be related to
various moments in the thirty years of an artist's working life.
This difference extends from artificial, repeated subjects sketched
with pointiliste vigour to others cross-hatched in the usual way
with something of the manner of an etching, and yet others with
linear contours and watercolour shadows. But this is not all,
since Canaletto sometimes practiced faithfully copying the very
subject he had already done in the second manner, with different
instrumentation in the third. Thus we have cause to reflect on the
dominant part which, to him at the time, might have been the
stylistic intention.
Perhaps the various styles of Canaletto's drawings ought to be
judged each for itself. This might result in a preference, on
traditional critical lines, for the rapid sketches which throw off
e. martini, La pittura veneziana del Settecento, 1964
In the act of displaying Venice in its more humble as well as its
grandiose aspects, Canaletto discovers a new concept of reality, a
poetically optimistic one, free from all the decoration of scene
painting and the baroque. And from the artist's new attitude
towards reality, one no longer mitizzata but in harmony with the
contemporary concern for light, there bursts forth a new power of
poetic expression. It should not be forgotten that in the middle of
the eighteenth century Diderot, in the preface to his Encyclo-
pedia, inclined "to bestow the name of art upon any system of
recognition that could be reduced to positive, invariable rules
unaffected by caprice or opinion". Canaletto even used the
camera ottica to determine the vanishing point of a predetermined

13
 AN OUTLINE OF THE ARTIST S CRITICAL HISTORY

view. In his hands a canvas with a view became a malleable Venetian painting of the sixteenth century and that of Canaletto
means of creating spatial relations which vibrate with pictorial are certainly just. But it seems to me that the precedents are in
counterpoint. As has been noted, in the middle of this spatial fact to be found further back, even if certain of the artist's achieve-
dimension, accomplished by stages and gradations of colour, ments are entirely new; and I accept his observations on Cana-
figures and objects acquire a three dimensional look. Shade in letto's space just as a guide towards an understanding of those

Canaletto always limpidly transparent, it never falls in dots

is more spectacular works (because more recent) "the actual ;

but seems to exist as a break in the exalting effects of light... By spatiality of the image is intensified in a third dimension not in
his constant interpretation of views Canaletto becomes the poet relation to the illusion of depth, but as an abrupt thrust forward
and historian of Venice. Behind the monuments and localities, which is impelled to crash the barrier of our living space, to
reproduced with such visual clairty, we discern the pride of a burst out at us, and not lead us towards the background...
man who understands the miracle of that city, mistress for so Canaletto's perspective does not build a retreating image, but an
many centuries of her fate. A few decades later Francesco advancing one. The vanishing point of the horizon does not draw
Guardi will not show the same faith: the fall of the Republic is at the architectural shapes and landscapes, to swallow them up in
hand. the haze of distance, it rather makes them emerge from the
r. pallucchini, / vedutisti veneziani del Settecento, 967 1 indistinct towards the spectator." [id.]
In this way, by continually seeking out and reviewing the
Canaletto may possibly have known either directly or indirectly truth of Canaletto, we exalt and exploit his poetry. In his much
the great Dutch may have begun from van Wittel,
painters; but he discussed English period he reached the highest attainment of his
without recourse to any more elevated source. The forerunners of aspirations, his most genuine triumphs. Here we should state that
Venetian painting are not so much the works of Titian and Canaletto was, in his own way, a classical artist (I do not mean
Savoldo... but the view of Carpaccio, which are so related to the neo-classical): because that detachment and contemplation
viewer as to give him the illusion that he is right there, in the which he achieved after going through the various well-known
middle Thus Canaletto succeeded by degrees in the mastery of
. . . formative phases testify to his desire to reduce reality, in a manner
light and space; gradually he effected those strokes of colour of speaking, to its essentials; to transform it, in other words, from
which give body to the tiny images inserted in his views and shine a phenomenon of the moment into an everlasting and changeless
like bright pearls. event of consciousness.
Brandi's recent arguments [i960] on the difference between p. zampetti, / vedutisti veneziani del Settecento, 1967

14
The paintings in colour
 THE HARBOUR OF ST MARK'S THETHAMES FROM THE
List of plates TOWARDS THE EAST [161 A] TERRACE OF SOMERSET
PLATE XXXIII HOUSE WITH WESTMINSTER
Whole BRIDGE IN THE BACKGROUND
PLATE XXXIV [286B]
PLATES LII-LIII
Detail, below centre
Whole

CLASSICAL RUINS: A THE IMPERIAL AMBASSADOR THE ARSENAL BRIDGE [100]

CAPRICCIO [15] BEING RECEIVED ATTHE PLATE XXXV THE DOGE VISITING
PLATE I DOGE'S PALACE [61] Whole THE CHURCH OFSAN ROCCO
[146]
Whole PLATE XVII
Whole PLATE LIV
PLATE II
Whole
Detail, right PLATE XVIII CAMPO SANTA MARIA
Detail, centre FORMOSA [101 A]
PLATE XIX PLATES XXXVI-XXXVII
Whole THE QUAY WITH THE LIBRERIA
THE GRAND CANAL FROM Detail,extreme right, below AND THE SAN TEODORO
CAMPO SAN VIO NEAR THE COLUMN TOWARDS THE
RIALTO BRIDGE [13] WEST [144A]
PLATE III
THE DOLO LOCKS [60A] THE GRAND CANAL FROM PLATE LV
Whole PLATES XX-XXI PALAZZO BEM BO TO Whole
PLATE IV Whole PALAZZO VENDRAMIN
CALERGI [97] PLATE LVI
Details: A and B, gondolas, left Detail, right
PLATE XXXVIII
centre ; C and D, the boat in the
centre foreground
Whole
THE RIVA DEGLI SCHIAVONI
TOWARDS ST MARK'S [39A] SOUTH FRONT OF WARWICK
PLATE XXII CASTLE [290A]
RIO DEI MENDICANTI [14A]
Whole THE SCUOLA Dl SAN ROCCO PLATE LVII
[105A] Whole
PLATE V
PLATE XXXIX
Whole PLATE LVI
Whole 1

PLATE VI THE CHURCH AND SCHOOL OF Detail, right

THE CARITA FROM THE PLATE XL
Detail, right
Detail, above
MARBLE WORKSHOP OF SAN left

VITALE (The Stonebreaker's WESTMINSTER ABBEY WITH

Yard) [33] THE PROCESSION OF THE
CHURCH OF SANTI GIOVANNI PLATE XXIII THE CHURCH OF SAN NICOL6 KNIGHTS OF THE ORDER OF
E PAOLO WITH THE SCUOLA Whole DICASTELLO[131] THE BATH [283]
Dl SAN MARCO [18] PLATE XLI
PLATE XXIV PLATE LIX
PLATE VII Whole
Detail, centre left Whole
Whole PLATE XLII
PLATE XXV
PLATE VIII Detail, centre
Detail, centre right
Detail of the canal, left
THE RANELAGH ROTUNDA:
INTERIOR [303A]
THE GRAND CANAL FROM PLATES LX-LXI
CAMPO SAN GIACOMETTO THE QUAY AND THE RIVA THE RIALTO BRIDGE Whole
[62] DEGLI SCHIAVONI FROM THE TOWARDS CA' FOSCARI [138]
PLATE IX HARBOUR OF ST MARK'S [35] PLATE XLIII
Whole PLATE XXVI Whole
Whole THE OLD HORSE GUARDS
PLATE X FROM ST JAMES'S PARK
Detail of the house, left [281]
REGATTA ON THE GRAND PLATE LXII
THEENTRANCETOTHE CANAL [68A] Detail, right
THE PIAZZETTA TOWARDS GRAND CANAL WITH THE PLATES XLIV-XLV
THETORRE DELL'OROLOGIO CUSTOMS HOUSE ANDTHE Whole
[52] CHURCH OFTHESALUTE ACOLONNADEANDA
PLATE XI
Whole
[70B] COURTYARD A CAPRICCIO :

PLATE XXVII ST MARK'S SQUARE [355A]

Whole TOWARDS THE BASILICA PLATE LXIII
[165A] Whole
THE OLD CUSTOMS HOUSE PLATE XLVI
AND THE GIUDECCA CANAL Whole
[37]
THE BUCINTORO RETURNING
PLATES XII -XI II
TO THE QUAY ON ASCENSION THE SCALA DEI GIGANTI IN
Whole DAY [67B] THE DOGE'S PALACE [323A]
PLATES XXVIII-XXIX THE FONTEGHETTO DELLA PLATE LXIV
PLATE XIV FARINA [162A] Whole
Whole
Detail of foreground, right PLATE XLVII
PLATE XXX Whole
Detail, centre foreground PLATE XLVIII
THE HARBOUR OF STMARK'S Detail, left
AND THE ISLAND OF SAN (JACKET ILLUSTRATION)
GIORGIO FROM THE Detail of The Buantoro Returning to

PIAZZETTA [34A] THE HARBOUR OF ST MARK'S the Quay on Ascension Day.

WITH THE CUSTOMS HOUSE CAMPO SANTI APOSTOLI
PLATE XV
FROM THE GIUDECCA [128]
Whole POINT [36A]
PLATE XLIX
Whole
PLATE XXXI
PLATE L In the captions to the plates the actual
Whole with bridge
CUSTOMS HOUSE POINT [38] Detail, left,
width of the original or of the section
PLATE XVI PLATE XXXII PLATE LI of the work illustrated is given in
16 Whole Detail, centre foreground Detail, right in centimetres.
PLATE I CLASSICAL RUINS: A CAPRICCIO Milan, Private collection
Whole (323 cm.)
PLATE II CLASSICAL RUINS: A CAPRICCIO Milan, Private collection
Detail (117 cm.)
PLATE III THE GRAND CANAL FROM CAMPO SAN VIO NEAR THE RIALTO BRIDGE Milan, Mario Crespi Collection
Whole (207 cm.)
PLATE IV THE GRAND CANAL FROM CAMPO SAN VIO NEAR THE RIALTO BRIDGE Milan, Mario Crespi Collection
Details (12.5 cm. each)
PLATE V RIO DEI MENDICANTI Milan, Mario Crespi Collection
Whole (200 cm.)
PLATE VI RIO DEI MENDICAWTI Milan, Mario Crespi Collection
Detail (70 cm.)
PLATE VII CHURCH OF SANTI GIOVANNI E PAOLO WITH THE SCUOLA Dl SAN MARCO Dresden, Gemaldegalerie
Whole (165 cm.)
PLATE VIII CHURCH ( GIOVANNI E PAOLO WITH THE SCUOLA Dl SAN MARCO Dresden, Gemaldegalerie
Detail (70 cm.)
PLATE IX CAMPO SAN GIACOMETTO Dresden. Gemaldegalerie
Whole (117 cm.)
PLATE X CAMPO SAN GIAC 1ETTO Dresden, Gemaldegalerie
Detail (actual size)
PLATE XI THE PIAZZETTA TOWARDS THE TORRE DELL'OROLOGIO Windsor Castle, Royal Collections
Whole (.129.5 cm.)
PLATES XII-XIII THE OLD CUSTOMS HOUSE AND THE GIUDECCA CANAL Milan, Mario Crespi Collection
Whole (61 cm.)
 **•**%*** »*i tV» « »i » til* "M » a%
l <mf» w »»»

PLATE XIV THE OLD CUSTOMS HOUSE AND THE GIUDECCA CANAL Milan, Mario Crespi Collection
Detail (actual size)
PLATE XV THE HARBOUR OF ST MARK'S AND THE ISLAND OF SAN GIORGIO FROM THE PIAZZETTA Milan, Mario Crespi Collection
Whole (63 cm.)
PLATE XVI CUSTOMS HOUSE POINT Vienna, Kunsthistorisches Museum
Whole (62
PLATE XVII THE IMPERIAL AMBASSADOR BEING RECEIVED AT THE DOGE'S PALACE Milan, Aldo Crespi Collection
Whole (265 cm.)
PLATE XVIII THE ! AMBASSADOR BEING RECEIVED AT THE DOGE'S PALACE Milan, Aldo Crespi Collection
Detai
PLATE XIX THE IMPERIAL AMBASSADOR BEING RECEIVED AT THE DOGE'S PALACE Milan, Aldo Crespi Collection
Detail (55 cm.)
PLATES XX-XXI THE DOLO LOCKS Oxford, Ashmolean Museum
Whole (94.6 cm.)
PLATE XXII THE RIVA DEGLI SCHiAVONI TOWARDS ST MARK'S Vienna, Kunsthistorisches Museum
Whole (62.5 cm.)
PLATE XXIII THE CHURCH AND SCHOOL OF THE CARITA FROM THE MARBLE WORKSHOP OF SAN VITALE London, National Gallery
Whole (163 cm.)
PLATE XXIV H AND SCHOOL OF THE CARITA FROM THE MARBLE WORKSHOP OF SAN VITALE London, National Gallery
D( tie)
PLATE XXV THE CHURCH AND SCHOOL OF THE CARITA FROM THE MARBLE WORKSHOP OF SAN VITALE London, National Gallery
Detail (actual size)
PLATE XXVI THE Qb ND THE RIVA DEGLI SCHIAVONI FROM THE HARBOUR OF ST MARKS Toledo (Ohio), Museum of Art
Whole (63 cm.)
PLATE XXVII THE ENTRANCE TO THE GRAND CANAL WITH THE CUSTOMS HOUSE AND THE CHURCH OF THE SALUTE Houston (Texas), Museum of Fine Arts
Whole (72.5 cm.)
PLATES XXVIII-XXIX THE BUCINTORO RETURNING TO THE QUAY ON ASCENSION DAY Milan, Aldo Crespi Collection
Whole (259 cm.)
PLATE XXX THE BUCINTORO RETURNING TO THE QUAY ON ASCENSION DAY Milan, Aldo Crespi Collection
Detail (26 cm.)
PLATE XXXI THE HARBOUR OF ST MARK'S WITH THE CUSTOMS HOUSE FROM THE GIUDECCA POINT Cardiff. National Museum of Wales
Whole (152.5 cm.)
PLATE XXXII THE HARBOUR OF ST MARKS WITH THE CUSTOMS HOUSE FROM THE GIUDECCA POINT Cardiff, National Museum of Wales
Detail (actual size)
PLATE XXXIII THE HARBOUR OF ST MARK'S TOWARDS THE EAST Boston, Museum of Fine Arts
Whole (204 cm.)
PLATE XXXIV THE HARBOUR OF ST MARKS TOWARDS THE EAST Boston, Museum of Fine Arts
Detail (60 cm.)
PLATE XXXV THE ARSENAL BRIDGE Wobum Abbey, Duke of Bedford Collection
Whole (78.8 cm.)
PLATES XXXVI-XXXVII CAMPO SANTA MARIA FORMOSA Woburn Abbey, Duke of Bedford Collection
Whole (80 cm.)
PLATE XXXVIII THE GRAND CANAL FROM PALAZZO BEMBO TO PALAZZO VENDRAMIN CALERGI Woburn Abbey, Duke of Bedford Collection
Whole (80 cm.)
PLATE XXXIX THE SCUOLA Dl SAN ROCCO Woburn Abbey. Duke of Bedford Collection
Whole (80 cm.)
PLATE XL THE SCUOLA Dl SAN ROCCO Woburn Abbey. Duke of Bedford Collection
Detail (larger than actual size)
PLATE XLI THE CHURCH OF SAN NICOLO Dl CASTELLO Milan, Private collection
Whole (77.5 cm.)
PLATE XLII THE CHURCH OF SAN NICOLO Dl CASTELLO Milan, Private collection
Detail (actual size)
PLATE XLIII THE GRAND CANAL FROM THE RIALTO BRIDGE TOWARDS CA' FOSCARI Rome, Galleria Nazionale
Whole (93.9 cm.)
PLATES XLIV-XLV REGATTA ON THE GRAND CANAL Windsor Castle, Royal Collections
Whole (126 cm.)
PLATE XLVI ST MARK'S SQUARE TOWARDS THE BASILICA Cambridge (Massachusetts), Fogg Art Museum
Whole (114.5 cm.)
PLATE XLVII THE FONTEGHETTO DELLA FARINA Venice, Giustiniani Collection
Whole (112 cm.)
PLATE XLVIII THE FONTEGHETTO DELLA FARINA Venice, Giustiniani Collection
Detail (33 cm.)
PLATE XLIX CAMPO SANTI APOSTOLI Milan, Private collection
Whole (77.5 cm.)
PLATE L CAMPO SANTI APOSTOLI Milan, Private collection
Detail (33 cm.)
PLATE LI CAMPO SANTI APOSTOLI Milan, Private collection
Detail (33 cm.)
PLATES LII-LIII THE THAMES FROM THE TERRACE OF SOMERSET HOUSE WITH WESTMINSTER BRIDGE IN THE BACKGROUND Haddington, Duke of Hamilton and Brandon Colli

Whole (185.5 cm.)

^ts
PLATE LIV THE DOGE VISITING THE CHURCH OF SAN ROCCO London, National Gallery
Whole (199 cm.)

1*.
PLATE LV THE QUAY WITH THE LIBRERIA AND THE SAN TEODORO COLUMN TOWARDS THE WEST Rome, Albertini Collection
Whole (185.5 cm.)
PLATE LVI THE QUAY WITH THE UBRERIA AND THE SAN TEODORO COLUMN TOWARDS THE WEST Rome, Albertini Collection
Detail (80 cm.)
 ..

Hi nil Vi.**^ ,

PLATE LVII SOUTH FRONT OF WARWICK CASTLE Warwick Castle, Earl of Warwick Collection
Whole (71 cm.)
 ' • n « i n .i

B
till III

PLATE LVIII SOUTH FRONT OF WARWICK CASTLE Warwick Castle, Earl of Warwick Collection
Detail (actual size)
PLATE LIX WESTMINSTER ABBEY WITH THE PROCESSION OF THE KNIGHTS OF THE ORDER OF THE BATH London. Westminster Abbey
Whole (101.5 cm.)
PLATES LX-LXI THE RANELAGH ROTUNDA: INTERIOR London, National Gallery
Whole (75.5 cm.)
PLATE LXII THE OLD HORSE GUARDS FROM ST JAMES'S PARK Basingstoke (?), Earl of Malmesbury Collection
Detail (40 cm.)
PLATE LXIII A COLONNADE AND A COURTYARD: A CAPRICCIO Venice, Gallerie dell'Accademia
Whole (93 cm.)
PLATE LXIV THE SCALA DEI GIGANTI IN THE DOGES PALACE Mexico City, Pagliai Collection
Whole (29 cm.)
The Works
 .

Key to symbols used Bibliography

So elements in each work may
that the essential
be immediately apparent, each commentary is
headed first by a number (following the most
reliable chronological sequence) which Is given
every time that the work is quoted throughout
the book, and then by a series of symbols These
refer to its execution, that is. to the degree to
which it is autograph, its technique, its support,
itspresent whereabouts The following additional
data: whether the work is signed, dated, if its
present-day form is complete, if it is a finished
work Of the other two numbers in each heading,
the upper numbers refer to the picture's
measurements in centimeters (height and width)
the lower numbers to its date When the date
itself cannot be given with certainty, and is

therefore only approximate, it is followed or

preceded by an asterisk, according to whether

the uncertainty relates to the period before the
date given, the subsequent period, or both All
the information given corresponds to the current
opinion of modern art historians, any seriously
different opinions and any further clarification is

mentioned in the text

There is no complete bibliography of La pittura veneziana del Settecento. note are those by L, Cust (BM. 1 91 3 and
writings on Canaletto. but Moschini's Venice and Rome, 1960), E Martini (La 1914),G A Simonson (AA. 1914;
volume (Canaletto. Milan, 1954) pittura veneziana del Settecento. BM. 1922);W G Constable (BM.
Execution contains a fairly exhaustive bibliography Venice, 1 964) and G M Pilo (Canaletto. 1 921 923, 1 927, and 1 954; OMD.
, 1

of 21 8 entries up to 1 953 Particularly Deventer, 1 961 and Rome, 1 966)

. 1 929 and 1 938; BMFAB. 1 939 and

Autograph useful for later publications are The fundamental texts on Canaletto's 1 949, SLV, 1 956; BWA, 1 963;
]
P Zampettis exhibition catalogue. drawing and work in engraving are by Catalogue of the Toronto show,
BK With assistance / vedutisti veneziani del Settecento D von Hadeln (Die Zeichnungen von Ottawa, Montreal, 1 964, AP. 1 964),
(Venice. 1 967) and the bibliographical Antonio Canal genannt Canaletto. T. Borenius (P. 1 929), P. G Konody

K l With collaboration
appendices to A V (for this
abbreviations, see below) for the years
and other Vienna. 1 930). M
R Pallucchini and G F Guarnati (Le
Pittaluga (A. 1 934), (AP. 1929), H A Fritzsche (GK, 1929
and 1 930), W
Arslan (RA, 1 932, AB,
1 953-66 For biographical information, acquetorti del Canaletto. Venice, 1 945), 1 948), H. F. Finberg (BM, 1 938), A.
FCfl With extensive collaboration
the most valuable works are Constable's Benesch Venetian Drawings of the
(
Mongan (OMD. 1938), G Fiocco
(vol I), listed below, and the works of Eighteenth Century in America. New (KR, 1940), R. Pallucchini (P. 1943,
Fffl From the workshop H (WS 1920-1 and 1922),
F Finberg York 1947), K T. Parker (Drawings ol
. AV. 1949), E P. Richardson (BDIA,
T Ashby and W G Constable (BM. Antonio Canaletto at Windsor Castle. 1 943-4), J L Allen (MMAB. 1 946),
E79 Generally attributed 1 925), F. Haskell (BM. 1 956), and Oxford and London, 1 948), V Moschini A F Blunt (A V. 1948), A C Sweter
R GaHo (AIV. 1956 7) (AV. 1950. Canaletto. Milan. 1963), and (BM. 1949), F J B Watson (BM.
E9H Generally not attributed The most important work is the two- T. Pignatti (II quaderno di disegm del 1950, 1951, and 1955), M Levey (BM.
volume study by W
G Constable Canaletto alle Gallene di Venezia. Milan, 1 953 and 1 962), C L Ragghianti

HH Traditionally attributed (Canaletto. Oxford. 1962) Important 1 958) For information on Canaletto's (ASNSP. 1 953), J Hayes (BM. 1 958),
reviews of it include those by M Levey use of the camera ottica and on other Vari (JRIBA. 1958-9), E Skrivankova

D*Q Recently attributed (BM. 1962). F Haskell (AB. 1962), and
V Moschini (AV. 1962) The following
works that were important when they
Technique first appeared have therefore been
superseded R Mayer (Die beiden
questions of technique, see the work by (U. 1 960), E, Safarik (Canaletto's View
Pignatti mentioned above (1 958) and of London. London, 1 961 ), H S Francis
studies by A
Morassi (BM. 1 955), (BCMA. 1 962), J Byam Shaw (AP.
D Gioseffi (Canaletto II quaderno de/le 1962), and A Morassi (AV. 1963 and
Gallene veneziane e I'impiego delta 1966) For information concerning

© 0,1
Canaletto. Dresden, 1 878), A Moureau
(Antonio Canal dit le Canaletto. Paris,
camera
C
ottica. Trieste,
L Ragghianti (SA.
1 959), and

1959) For
museum, private collection,
exhibition catalogues, see the
and

1 906, 2d ed 1 925), G,
Ferrari (/ due Canaletto's place in the artistic market bibliography by Zampetti (1 966)
Base Canaletto. Turin, 1914), and M Stubel of his time, a particularly useful study Special mention should be made, in this
(Canaletto. Berlin, 1923) The mono is that of F Haskell (Painters and connection, of the catalogues by K. T.

^ Panel
graphs written by F J B Watson
(Canaletto. London and New York,
Patrons. London. 1963) For Canaletto's
position among the vedutisti (view
Parker and J Byam Shaw (Canaletto
and Guardi, Catalogue ol the Drawings
Exhibition. 1 962) and by M Levey (The
1 949, 2d ed 1 954) and C Brandi
, painters), see the studies by H. Voss
Hid Canvas B Watson (GM. National Gallery Catalogue. London,
(Canaletto. Milan, 1960) are still (RKW. 1926), F. J
important, as are the accounts by 1 954), and R Pallucchini (AIV. 1 966-7) 1 956; Canaletto Paintings in the Royal
^y Metal R Pallucchini (Canaletto. Milan. 1958, Other works of critical or historical Collection. London, 1964)

QQ Paper or cardboard

Location

• Open to the public

•
Abbreviations Fine Arts - Boston MMAB Metropolitan Museum of Arts
Private collection
o
• A L'Arte BWA Bulletin of the Wadsworth Bulletin (New York)
AA Art in America Atheneum OMD Old Master Drawings
• Whereabouts unknown AB The Art Bulletin CA Connaissance des Arts P Pantheon
o
AC Acropolis CMV Catalogo delta mostra I vedutisti RA Rivista d'arte
o Lost work AIV Atti dell'lnstituto veneto di scienze. veneziani del Settecento (Venice 1967) RKW Repertoriumfur Kunstwissen-
o
lettere e arti D Dedalo schaft
AJ The Art Journal DBI Dizionano biografico degli SASeleArte
Additional data AP Apollo Italian/ (Rome) SL V: Scritti di storia dell' arte in onore d
ASNSP Annali delta Scuola normale ES Enciclopedia del/o spettaco/o Lionello Venluri (Rome 1956)
H Signed work supenore di Pisa (Rome) TBKL Allgemeines Lexikon der
AV Arte veneta GK Die Graphischen Kunste bildenden Kunstler
M Dated work AVE Archivio veneto
BA Bolleltino d'arte
GM The Geographical Magazine
IS Italian Studies
U: Umeni (Prague)
VE Venezia e I'Europa Atti del
Q Part or fragment BCMA
Museum of Art
Bulletin of the Cleveland JPK Jahrbuch der preussischen
Kunstsammlungen
Congresso internazionale
(Venice 1956)
dell'arte
di storia

BDIA Bulletin of the Detroit Institute of JRIBA Journal of the Royal Institute VP: Venezia e la Polonia (Rome 1965)
Unfinished work
Art of the British Architects WS The Wa/pole Society .

BJRL Bulletin of the John Roland KR Kunst-Rundschau ZKW Zeitschrift fur Kunstwissenschaft
Library MA Magazine of Art (London)
BM The Burlington Magazine MF Middeldorf Festschrift (London
Information supplied in the text BMFAB Bulletin of the Museum of 1966)
82
Outline biography

1697 28 October Giovanni

Antonio Canal was born in
Venice This is confirmed by the
certificate of his baptism, which
took place two days later in the
parish of San Lio: "30 October
1697. Zuane [Giovanni]
Antonio son of Sig Bernardo
[son of] Cesare Canal, painter,
and of Signora Artemesia,
daughter of Sig. Carlo Barbieri,
husband and wife, born on the
28th of this month. Godfather
Signor Paolo, son of Vendramin
Giambattista of this quarter
Godmother Rucchi " This
document corrects the slight
inexactitude of Manette, who
gave the birth date as 18 October
1 697 This date was accepted by
alllater scholars until Constable

[1 962] published the baptismal

certificate Constable also used
(Left to right) Probably a self portrait (detail, see Catalogue, 259) Detail of a portrait of Canaletto (ANTONIO CANAL NOB VEN
documents to correct the painter'!
Detail of portrait of Canaletto in an engraving by A. Visentini (after ACCAD DEGLI ARGONAUT! DETA DAN [The age was left
Piazzetta's drawing) for Prospectus Magni Canalis Venetiarum blank; as for the assertion of nobility, see 1 697]J, probably imaginary,
genealogy There is therefore
(1735) in an engraving in Moureau's book (1894)
reason to doubt the assertion of
Manette, who claims to have
began to paint "scenes from also have been slightly perspectives and landscape in a 1725 By July of this year his
had the information from the
under the dominant
life," influenced by V. Codazzi and the capriccio depicting the tomb of superiority over Carlevaris had
painter himself, and Zanetti. that
influence of Marco Ricci and so-called "Bamboccianti". We Lord Somers (Catalogue. 9), on been explicitly proclaimed
the Canals were members of the
Carlevaris. do not know exactly how long which Piazzetta also [Haskell, BM. 1956] On
Venetian aristocracy It seems,
Antonio stayed Rome, but he
in collaborated. This was the first 2 August Canaletto gave the
rather, that they were an old and
1719 c Antonio went to Rome was probably there for two occasion on which Antonio was painter Alessandro Marchesim
quite wealthy Venetian family
with his father According to years, on the evidence of the referred to as Canaletto Owen ofVerona, agent for the collector
who owned some buildings We
Zanetti [1 771 ], on the occasion extent of his theatrical McSwiney, an Irishman who Stefano Conti of Lucca
know that the artist's father.
of this |ourney Antonio commissions and the number of had tried his fortune with little (erroneously believed to be the
Bernardo, usually referred to as a
"solemnly excommunicated, so "views of the antiquities of success as an actor, author, and builder of the new Bucintoro),
painterin archive documents,
he said, the theatre" to give Rome" that he painted. The manager in England, had been a receipt for ten sequins paid to
was actually a theatrical painter,
himself over entirely to "painting work of this period has been living on the continent since him on account for "two pictures
i.e. a set designer, and it was for
scenes from life especially in reconstructed by recent scholars 1 71and dealt in paintings
1 of views" which he had agreed
this career, in which the father
. . .

the genre of antiquities", and in
had acquired a certain reputation
short - as Orlandi correctly
[Povoledo, ES], that Antonio
observe [1 753] - to paint
and another son, Cristoforo,
"with admirable taste ...
were trained.
beautiful old structures". In fact
recently discovered documents
1716-18 Antonio and show Canals went to
that the
Cristoforo helped their father to Rome for work connected with
design several sets; backdrops the theatre [Constable. 1962],
for Vivaldi's Arsilda regina di and Antonio and his father seem
Ponto and L incoronazione di to have painted the sets for
(in particular Morassi [AV.
1966]). There is a set of
drawings in the British Museum
and a series of "views" engraved
by G B Brustolon with the
following caption: "Anto.
Canal Pinx. Romae"
1720 He seems to have
returned to Venice, since his
name appeared for the first
[Haskell, 1966] About 1722 he to paint for the sum of twenty
was commissioned by Lord sequins, after Antonio's initial
March (who became the second request for twenty-five sequins
Duke of Richmond in 1 723) for On 25 November the painter
the ambitious project of having announced that the pictures
the most famous Italian painters were ready and mentions that
execute a series of paintings of the subjects were a View of the
the allegorical funerary Rialto Bridge (Catalogue. 20)
monuments of the most and a Grand Canal (19 A) He
illustrious figures of English acknowledged receipt of the
history between the seventeenth final payment and agreed to

Dano and for Chellen's Penelope Scarlatti's Tito Sempromo Greco time among those of the "Fraglia and early eighteenth centuries paint two other pictures at the
la casta at the Sant'Angelo and Turno Ancino, which were dei Pitton", the professional (Concerning the fate of this same price. He tried to have the
(

Theatre (1 71 6); for Pollarolo's performed at the Capranica guild of painters Some scholars protect, see - among others - price increased to thirty
L innocenza nconosciula and Theatre during Carnival, 1 720. argue that he returned only Constable [BM. 1954] and sequins By 25 December he
)

the anonymous // vinto Nevertheless the young briefly to Venice at this time and Haskell 966], as well as the
[1 was at work on these
already
tnonlante del vine/tore, given in Venetian artist certainly came to that his Roman stay lasted until volume Tombeaux des Princes pictures and had received an
the same theatre; for Porta's maturity in Rome and there 1 721 722 It is worth noting
or 1 [1 741 ], which documents the advance of ten sequins
Argippo at the San Cassiano decided to give up set design for that on 30 January 1 720. undertaking and its partial
Theatre (1717); for Pollarolo's painting, and view painting in Antonio's sister Fiorenza and failure ) Canaletto's name 1726 15 June The two
Farnace and Orlandim's particular The Roman milieu Lorenzo Bellotto (or Belotto) figures in a letter that paintings mentioned above, and
Antigone, also at the San must have stimulated him a had a son called Bernardo, who McSwiney sent to his patron. Church of Santi Giovanni
Cassiano Theatre (1718) [Ibid ]. great deal, particularly the work was to follow in the footsteps Lord March, at this time, and Paolo (Catalogue. 22 A)
No graphic or pictorial of G P. Pannini. who had been of his uncle. confirms the fame that the and the Church of the Canta
documents of Antonio's engaged in decorating the Villa young painter must already (Catalogue. 21 ), were
theatrical work have survived, Patrizi since 1718, and 1722 8 March Antonio Canal have won as a master of completed and paid for
but probable that in the
it is secondarily that of the and Cimaroli were employed by perspective and view Canaletto prepared a receipt for
work he did for the theatre he Dutchman van Wittel He may McSwiney to paint the painting. the payment and for a
83

"supplementary gift" of ten
sequins From these documents
emerges a very important piece
of information that Antonio
"always goes to the place and
does everything from life"
(For detailed information
concerning his relations
Conn and Marchesini. see
Haskell [BM. 1956])
1725—6 The increasing success
marketplace
of the artist in the
is confirmed by other events
In August 1 725 Canaletto
showed his works in public and
had "astonished everyone".
On 25 November 1725.
Canaletto was employed by the
French Ambassador. Count de
Gergi (see Catalogue, 31 ), and
on 3 March of the following
year he was engaged in painting
a View of Corfu for "Marshal
Salenburg". the well-known
Marshal Johann Mathias
Schulenburg Schulenburg had
led several important military
campaigns for Venice and was
now retired with a handsome
pension from the Venetian
government He was a fervent
collector [Haskell, 1 956. BM,
and 1 966, on Schulenburg]
1727 From 28 November until
October 1 729 there was a
correspondence between
McSwiney and the Duke of
Richmond about four paintings
that Canaletto was preparing for
the latter, for which the artist
was paid a total of eighty eight
sequins [Finberg, WS, 1921 2.
Constable, 1 962] Already on
8 March 1 726. McSwiney had
told the Duke about the
capnccio of the tomb of Lord
Somers, commissioned in 1 722.
and a new one of the tomb of
Archbishop Tillotson [Arslan,
RA. 1 932; Watson. BM. 1 953]
1728 24 July A M Zanetti
sent Canaletto's receipt for the
final payment of a small painting
toNiccolo Gaburri [Moschini.
1954]
1729 Canaletto's drawing
the Doge's Palace, now
collection at Darmstadt [Hadeln,
1 930], and of the Piazzetta now
in the De Burlet Collection.
Basle [Ibid. Constable. 1962]
one dated this year.
1730 17 July A letter to
Samuel Hill from Joseph Smith
[Chaloner. BJRL. 1 940-50]
confirms that Canaletto had
already been working for Smith
for some time Smith was to
play an important role in
Canaletto's future, and he
became both a patron and an
intermediary between Canaletto
and the world of collectors,
particularly British
had settled in
ones Smith
Venice at the
beginning of the century, where
he was engaged (not altogether
honestly, according to some
sources) as an importer of meat
and fish He became rich
to be able to retireand devote
himself to art, publishing and
collecting. His salon in a of the Piazzetta now in the
sumptuous palace near the
Church of Santi Apostoli on the
Grand Canal was famous In
1 744 he became the British
consul to Venice, and ne died
there in 1 770 [Parker, 1 948.
84
with
Possible portrait of Canaletto. attributed to the Venetian Pietro
Longhr The work was sold at the Parke Bernet Galleries. New
York (13 November 1958. no 33)
F Vivian. BM. 1 962 and 1 963;
IS. 1963] From the very
beginning his relationship with
Canaletto was stormy In the
letter mentioned above. Smith
complained that more than once
he had been obliged on behalf of
his friends to bow to the
impertinence This complaint
casts some on Canaletto's
light
and
rather difficult character
prima donna temperament This
side of his character is also
of documented by other
in the contemporaries of his (for
instance by McSwiney in a letter
to J Conduitt. of 27 September
1 730. reprinted here the
in
Critical outline) In addition tc
doing work directly for Smith,
Canaletto was engaged
painting works which Smith
could pass on to British
collectors There is a document
in the Wicklow family archives
which mentions, for the date
22 August 1 730. two paintings
(see 80 and 81 ) by Canaletti
[sic] procured by "Mr Smith",
probably for Hugh Howard, who
later became the Earl of
[Constable. 1962] Meanwhile,
John
since the preceding June.
Conduitt had been wanting Mr
S[mith] to procure three
paintings by Canaletto for him
[Haskell. 1966]
enough 1732 July Canaletto was
engaged in works for
totally
English customers. On a drawing
Darmstadt collection, he
wrote "Year 1 732, the month of
July for England" He was
probably completing a series of
views for the Duke of Bedford
at this time
) 8
there appeared an album of
fourteen views by Canaletto
etched by Antonio Visentini;
Prospectus I Maqni Canalis
Venetiarum I addito Certamine
Nautico et Nundinis Venetis I
Pictis ab Antonio Canale. I in
Aedibus Joseph/ Smith Angli. /
Delmeante atque Incidente. I
Antonio Visentini, I Anno
MDCCXXXV These were
reproductions of works that
Canaletto had painted for the
English market This album
which was prepared in the house
of Joseph Smith was intended
as a kind of illustrated catalogue
of the skills of Canaletto,
compiled by his agent [Haskell,
1966]
1736 On 16 June, the Swedish
Count Charles Gustave Tessin,
who had gone to Venice to find
a painter for the decoration of
the Royal Palace in Stockholm,
noted that Canaletto was bound
by an exclusive contract to
Smith for four years (see Critical
outline) Tessin also provides us
with important information
about Canaletto's very high
prices On 22 June there
appeared a series of six views of
Venice copied from Canaletto
and engraved by Louis- Philippe
Boitard the Elder [Constable,
1962]
1739 A series was published on
26 June of six views
of Venice
engraved after Canaletto by
Henry Fletcher [Finberg, BM,
1932, Watson. BM, 1955] On
24 November President de
Brosses, writing from Rome to
1733 Canaletto was publicly de Neuilly, mentioned Canaletto
proclaimed to be the best "view as the only important painter
painter" of the time (see Critical living in Venice (see Critical
outline outline)
1734 16 July This is the date 1740 Canaletto may have
on a drawing of the Santa made another trip to Rome
painter's Chiara Canal, now in Windsor [Voss. RK W, 1 926], since there
Castle (no 7469), formerly in is no documentary evidence
the J Smith Collection that the trip was made, there is
Canaletto was still working for disagreement among scholars
Smith at this time This is It has been suggested that such
confirmed by a letter of Smith's a trip might instead have been
to the Earl of Essex, dated 1 made in 1 742
September 1 734, [Watson,
1 949] about four paintings 1741 Canaletto gives this date
to an etching [Pallucchini and
1735 On 5 January Canaletto
1 Guarnati, no 9] from a series
was a candidate with Domenico that was to appear three years
Claverm for the post of "prior" later (see 1744 below), the
in of the Venetian painters' fraglia. drawing etching is in the
for the
but the members decided not to British Museum. This is evidence
vote for him because he was a that at least by this year
"son at home", (he was probably Canaletto had not only planned
ineligible because he was not but had begun to execute his
demonstrably independent set of etchings, without
economically). [Constable, interrupting his work for the
1 962], as he lived with relatives English market
without clear distinction of
individual property In 1735 1742 A second edition of
Wicklow
mmmamm
ANT- CANAL FECIT
MOCXUl **-•
(Above, left to right) Two rare signatures by Canaletto on paintings nos 203 (note that the D in the year
has been omitted, making it read 1242) and 206 in this book
(Below, left to right) A signature of Canaletto in the series of engravings published in 1744 (see p 88).
and a detail of the inscription he wrote in a 1 766 dra wing (of the Cantoria of the Basilica of St Mark 's),
now in the Kunsthalle. Hamburg
Visentim's engravings appeared,
with two new sections and
twenty four new plates from
views by Canaletto The title
was unchanged from that of the
1 735 edition, but with the
addition Elegantius recusi,
together with the date
MDCCXLII. These were still not
altogether successful
reproductions of works done
for Smith or his clients Some
Roman views, now in Windsor
Castle,were dated that year by
Canaletto (see Catalogue.
203-7)
1743 24 October This date
was given by Canaletto to views
of the Piazzettaand of the
Doge's Palace, now in Windsor
Castle (220, 219)
1744 The album of thirty
Vedute A/tre prese da i Luoghi
altre ideate appeared Drawn
and etched by Canaletto, the
work was dedicated to J Smith
as a "mark of esteem and
devotion", on the occasion of
Smith's appointment as British
consul to the Republic of Venice
It seems, therefore, that relations
between the painter and the
patron were still good Smith
was still a controversial figure
and he was often sharply
criticised On 18 June 1744
Walpole described Smith in a
letter to Horace Mann as "the
merchant of Vemse" He was to
use much stronger language on
other occasions Canaletto
signed and dated some views
and capricci (238-41)
this year
1745 23 April Canaletto wrote
the following on a drawing of
the Piazzetta, now in Windsor
Castle (no 7426): "23 April
1 745, Knight St George's Day,
the Campanile of St Mark's has
been struck by lightning" So
Canaletto must still have been
working full stint in Venice at
this time
1746 At the end of May,
G Vertue recorded in his
Notebooks [WS, 1930] the
arrival in London of the "famous
view painter" Cannalletti [sic],
who was distinguished in his
field and particularly esteemed
by the English collectors From
other sources we know that
Canaletto arrived in Great
Britain with a letter of
recommendation from Smith to
McSwiney Smith asked
McSwiney to introduce the
Duke of Richmond,
painter to the
who, through McSwiney, had
commissioned the funerary
capricci from Canaletto (see
1722) On 20 May Thomas Hill identified as no 41 [Ibid] The 1751 On 8 March "Signor for the publication of two lutor to John Crewe during a
wrote lo the Duke that it would view of St James's, which has Zuanne Antonio Canal, son of engravings by E Rooker and visit to saw "a
Venice. There he
be a great boon to Canaletto if given rise to some problems of Bernardo, in my presence" two by J. S Muller from little man" intent on sketching
he were allowed to paint the identification,must have been drew up a real estate contract in drawings by Canaletto, with the campanile of St Mark's and,
Thames from the dining room painted for promotional Venice for the notable sum of views of Vauxhall Gardens on a hunch, called out
window of Whitehall Palace purposes, to give the lie to any 2.500 ducats to be paid to the [Finberg, WS. 1920-1; The man replied,
"Canaletti"
[Finberg, WS. 1920-1]; the doubts about his skill, and to School of Luganeghen for Morassi, 1954], "Do you know me?" and invited
view was painted [Catalogue, attract new clients [Constable, property purchase On 24 May Hinchliffe and his pupil to his
260) In October Vertue recorded 1962] This clever enterprise he was already back in London, 1752 3 Individual prints studio They struck up a
that Canaletto had decided to probably achieved its aims. for he depicted "exactly" a executed by English engravers friendship: Hinchliffe asked
come to England at the Vertue himself suggests that garden party held at Ranelagh to after works by Canaletto Canaletto to do a painting of the
suggestion of "Signor Amiconl" doubts about the "reality" of celebrate the birthday of Prince appeared in these years sketch he had been working on,
(Jacopo Amigoni, a "History" Canaletto must have resulted George of Wales [Finberg, WS, [Constable. 1962] On 28 July and the painter made a gift of the
painter), on his return from a from the fact that there was 1 920-1 who was to become Pietro Gradenigo noted in his drawing to Hinchliffe
],

stay in England, and that another painter known as King George III in 1 760 and Nolatori [1 942] "Antonio ;

Canaletto was already at work Canalletti [sic] whose real laterpurchased from Smith (see Canaletto, celebrated Venetian 1763 On 11 September, after the
on some views of the Thames name was Bellotto. This was 1763) an impressive group of painter of views, is returning death of Nogari, the Academy
Vertue suggests that Canaletto Canaletto's nephew, Bernardo. works by Canaletto On 30 July home from England" This must elected Canaletto (10votes
had been obliged to make the It is interesting that an absurd the Daily Advertiser published a have been a very short visit, against 4) as a "skilled and
journey because of the scarcity hypothesis was advanced at the notice which "Signior"
in since Zanetti explicitly mentions celebrated Professor, Painter of
of tourists in Italy, particularly in end of the last century [Home, Canaletto announced that he only two visits that Canaletto the highest honesty and virtue".
Venice, as a result of the War of MA, 1 899] that Canaletto never had painted a picture of Chelsea, made lo England
"He sojourned ( [Ibid] Canaletto took an active
the Austrian Succession went to England, and that an Ranelagh House and the Thames twice in London There is ..."). part in the life of the Academy
impostor painted under the and invited connoisseurs to see either a misunderstanding here until 23 August 1767
1747 Canaletto completed a name of the Venetian master it at his apartment in Silver
or the Venetian diarist made an Negotiations - begun in 1 756 -
view (see 273) for Sir Hugh Street, where it was on view for error [Constable, 1 962] were finally completed for
Smithson, later first Duke of 1750 Canaletto returned to fifteen days, from 8 to 1 and from George Ill's purchase of Smith's
Northumberland [Morassi. Venice on business perhaps 3 to 6 in the afternoon [Finberg, 1754 The following inscription collection of Canalettos. This
954], for whom the artist did towards the end of September WS. 920-1 Constable, appears on the back of a view of included fifty-three paintings
1 1 ; 1 962]
other work, including two and remained there for eight {Catalogue. 289). On 2 Walton Bridge, now in the and about one hundred
splendid views of Westminster months. December a licence was issued Dulwich Gallery, London (302); drawings Most of these have
Bridge (Catalogue, 265-6) It is "Done in 1 754 in London for the remained in the British royal
likely that Canaletto did two first and last time with every care collections [Parker, 1948]
other views of this bridge in this for the Rt Hon Mr Hollis, my
year for Prince Lobkowicz — very esteemed patron. Antonio 1765 In accordance with the
probably an unexpected Canal, known as Canaletto" An Academy practice that each new
customer- who wanted to take almost identical inscription member should present the
back some prestigious souvenirs appears on the back of his view association with an example of
of his London visit [Constable, of the Interior of the Ranelagh his work, Canaletto gave a
1 962]. It can be assumed, then, Rotunda, now in the National capriccio (335 A), which is still

that Canaletto's circle of patrons London (Catalogue,

Gallery, in the Gallene dell'Accademia
was growing and that there were 303) As far as one can tell the in Venice.
an increasing number of fragmentary inscription on the
invitations to other cities An back of the capnccio showing 1766 Canaletto was still
invitation toDresden came, the Capitol and the Cordonata, working He wrote on a drawing
perhaps through Lobkowicz, in the Gavito Collection, Mexico of this year, now in the
from the King of Poland and City (299), must have been the Kunsthalle, Hamburg, "I, Zuane
Elector ofSaxony Canaletto same, although the date of the Antonio da Canal, did the
declined, and may have beenit
painting has disappeared The present drawing of singers in the
suggestion that the King artist, then, had found an Ducal Church of St Mark's in
at his
invited his nephew, Bernardo influential new patron in Thomas Venice at the age of sixty-eight,
Bellotto, instead [Manette, Hollis, a man vitally engaged in without glasses 1766"
1851-3] political life, full of republican
passions, bound to the cause of
the American colonies, a writer,
1 768 On 20 April we find the
1749 An entry for June in official entry in the Venetian
bibliophile and collector. It is

Venue's Notebooks mentions health authority's offices of the

interesting to note that Hollis
that Canaletto had already Venice death "Antonio
of Canal, 71,
met Consul Smith in
painted pictures of the of fever and inflammation of the
during a stay between 8
Badminton countryside for the bladder, 5 days. Doctor Musolo,
December 1 750 and 28 February

Duke of Beaufort, as well as death at 7 o'clock" The death

1751 and remained in
London views There was, list of the Parish Church of San
correspondence with him
however, a notable decline in Lio (now in Santa Maria
[Constable, 1962]
Formosa), in whose precincts
quality
done in
compared with work
Venice, and, in view of , A %*ne /mA>»Uo X fi.no.1
let* il (W«efe 1755 On a drawing of Walton
Canaletto had lived (at no. 5484
of what now Corte Perini
the great privacy with which Bridge, in the Mellon Collection,
is

Canaletto worked, it would have Washington, appears an

[Tassini, Cunosita veneziane,
been tempting to wonder autograph inscription; "Done by 1965] confirms the death report
)

whether the artist that landed in me. Antonio Canal, known as and that death occurred at seven
England was not a different in the evening [Moschim. 1 954;
(Above) Drawing <ca. 1740), landscape with terrace and rustic Canaletto. for my picture painted
person from the "genuine London Constable, 1 962 (q.v. for the
courtyard, with an autograph inscription (Berlin. Kuplerstichkabinett) in for Rt Hon di Kers
Canaletto of Venice", or whether [sic]" This inscription
correct transcript of the
(Below) The frontispiece of the autograph engravings published can be
Canaletto did not use assistants compared with the one on the documents)]. n his entry in the |

in 1744 (VEDUTE/Altre prese da Luoghi altre ideate/DA/

i

when he was in England, back of the painting (31 5) he Notaton 1 942] for this date,
ANTONIO CANAL/e da esso intagliate in prospetiva) with a
[

particularly in painting figures. did for thesame man, who Gradenigo confirmed that "after
J Smith (umiliate/AII'
dedication to mo Signor/GIUSEPPE
III has
This suspicion may have been been identified as Samuel a long and pitiful illness we have
SMITH/Console di S. M Britanica appresso la Ser ma/Repubblica
entertained by some of his Dickers, MP, the financier lost a fine brush in the death in
di Venezia/ln segno di stima ed ossequio)
English patrons, for Canaletto responsible for the bridge. the San Leone parish of the painter
published an announcement on Antonio Canale, known as
25 July in an English newspaper 1756 Canaletto returned Canaletto, who was famous for
- probably in the Daily Advertiser permanently to Venice probably hisview paintings" Canaletto's
or the London Journal [Finberg, in this year, if not as early as the tomb has not been identified
WS, 1 920-1 ] Vertue copied out end of the preceding year. On 1 4 May an inventory of
this notice, in which Canaletto Canaletto's possessions was
invited anyone who wanted to 1759 28 September In a letter drawn had died
up, for he
see the view of St James's Park to the Bolognese painter intestate Among his possessions
he had painted to visit his Prospero Pesci, Algarotti were "Pictures, Medium and
lodgings at the house of Richard describes a capnccio of the Small, 28". His heirs were his
Wiggan in Silver Street. Golden Rialto bridge as it had originally sisters, Fiorenza, a widow, and

Square, between the hours of been designed by Palladio Viena and Francesca, unmarried.
9 and 3 or between 4 and 7 in [Algarotti. 1784], which On 20 May the bill was prepared
the afternoon Silver Street, off Canaletto had done for him for expenses involved in his
Regent Street, has been called funeral, as well as for his
Beak Street since 1 883, and 1760 John Hinchhffe (later medical and pharmaceutical
Wiggan's house has been Bishop of Peterborough) was expenses [Constable. 1 962]
85

Catalogue of works
Artistic development
Recent studies, particularly
Morassi's [AV, 1966], have
shed light on the problems of the
rather enigmatic beginnings of
Canaletto's artistic career
Careful study of his few surviving
early works and the identification
of some of the novelties of his
style,have enabled scholars to
recognise the original
contributions he made to the
tradition of view painting as
practised by van Wittel and.
more especially by Carlevans
Pallucchini properly emphasised
[1960. to AIV. 1966 7] the
baroque which was in
sensibility
harmony with the contemporary
taste in painting as it
expressed by Piazzetta.
Bencovich, and the very young
Tiepolo and it is also now
possible to assess the great
influence that Marco Rica's
treatment of landscape had on
thedevelopment of the young
Canaletto The same may be said
of the influence of Canaletto's
early experience in the theatre.
which probably gave him
feeling for highly dramatic
effects, in the manner established
and popularised for instance by
the Bibbienas, particularly
Ferdinando Bibbiena There
little doubt that Canaletto
began to paint very early, and at
the same time that he began his
work for the theatre, to which
family tradition had dedicated
him This obviously would be
before the famous
"excommunication" of the
theatre from his life Thus
Morassi is probably correct
thinking that Canaletto's
Rome in 1719 was not the
turning point that other scholars
have considered it Nevertheless
the milieu of Roman
painting must have had a
profound influence on the
young artist, particularly the
arrangements of figures that
were being introduced by Pannini
especially This is even more
evident when one realises that
Pannini came from Piacenza,
which was known to the
well
Bibbienas, whose scenographic
innovations had already
influencedtheyoung Canaletto's
imagination The northern
painters influenced by Rome,
together with the
"Bamboccianti" (who were
firmly bound Dutch
86 to
-
must also have engaged his
attention, particularly in their
straightforward sense of realism
and local colour in handling
details of everyday life [Morassi,
A V. 1960] In any case, the first
known works by Canaletto are
marked by a feeling for
scenography [Pallucchini.
1 960] comprehending all these
components and assimilating
them in a highly personal and
individual form "Ideal" views
based on classical remains figure
notably in Canaletto's
production in these years, until
about 1 725-6 But he was
gradually making more views
"from nature", and this marks a
was decided change in his choice of
subjects probably caused by the
demands of the market In the
early 1 730s Canaletto began to
temper his agitated and dramatic
manner of composition At the
same time he placed less
emphasis on chiaroscuro effects,
giving his pictures a peaceful
and spacious luminosity and he
confined his work almost
a exclusively to views of Venice
and its environs This change
again parallelled the change in
Venetian taste in painting
Canaletto used optical
is instruments, strictly for
expressive purposes, in his
search for new compositional
motifs that could also be used in
fantastic compositions, and he
explored every corner of Venice,
from the most famous - St
Mark's Square, the Piazzetta, the
Harbour, the Quay, the Grand
Canal, etc - to the least known
in smallest squares and canals He
trip to achieved a remarkable series of
vital images and created "a spatial
dimension obtained through
passages and gradations of
figure colour", charged with a light that
created a heightened "sunlit
secularisation" of reality
[Pallucchini. AIV. 1966-7] All
the baroque accents were
dissolved in a counterpoint so
that the Venetian topography
was not treated with the
documentary exactitude of
Carlevans, but raised to the level
of imaginative transformation
and historical representation
Canaletto's formal methods
walking around and making
jottings in his sketchbooks, to be
used for his paintings, were most
varied, he handed perspective
tradition). with increasing daring and
gradually moved back the focal
point of the view, thereby
"increasing the picture's
capacity to retain the atmosphere
of the scene" [Ibid.AV. 1964]
But he controlled his methods in
a way that respected the
objective character of reality
whilst being rendered poetically
During this felicitous phase of
Canaletto's career, he achieved
on a European level of style and
quality "the enlightened
certainty of absolute truth"
[Longhi. 1 946] that was typical
of contemporary culture, within
the style and idiom of his own
particular situation, namely the
Venetian tradition [Ragghianti,
SA, 1959] From about 1740
Canaletto enlarged his repertory
to include views of the Venetian
mainland as well as "ideal"
subjects depicted in hard sunlit
colours but within the framework
of the rational world of the
Enlightenment Classical
elements returned too, as a result
of his second Roman visit (if we
accept the opinions of those
who admit that this journey
might have happened) Aside
from these classical elements,
thissecond Roman stay would
seem to have had no formative
influence on him But compared
with his youthful work the
material appears radically
different In connection with the
capricci Canaletto painted
between 742 and 1 744, it
1 the sturdy conscience of the
might be worth examining a
possible relationship (hitherto
unconsidered) that may have
existed, perhaps through
Algarotti, with northern
European where
circles,
architectural concepts were
being rethought and the whole
question of city planning was
being considered One has only
to think of Etienne- Louis Boulle
and even Diderot's theories
The English visit did not, as
some scholars have said, mark a
change in the artist's work
However he may at first have
been somewhat disoriented by
the differences in British towns
and landscape and the different
and
quality of light, crystalline
cold. Also he must have been
affected by the relationships he
established with an artistic circle
which had
of a different kind,
connections with contemporary
Dutch painting, particularly that
of J van der Heyden, a reflection
of whose work some scholars around to paint "on the spot",
have found in Canaletto's proud of the fact that he could
painting But Canaletto was work without glasses He may
soon to impose his own warm have worked primarily for
sense of light onto the English himself, because of his own
landscape, as Pallucchini innate and urgent need for
observed [AV, 1 964] According self-expression.
to him. Canaletto's two stays in This catalogue includes all the
London did not alter his style paintings - among the immense
Canaletto ended by revealing to number that have been attributed
the English "a London bathed in toCanaletto - that can be
southern light", treating the new considered autograph works
landscape "with an expansive because of documentation or
sense of luminous space" [AIV, because of stylistic qualities
1966 7] This may well explain unanimously recognised by
the initial perplexities of the scholars (Very few works of
British dilettanti. Canaletto are signed ) Also
The last period of Canaletto's listed are pictures attributed to
activity, beginning in 1 755, Canaletto by a majority of
when he returned to Venice, has scholars In addition to originals,
not been sufficiently studied contemporary other versions of
Morassi has pointed this out the same subjects are also listed
[AV, 1 966], and recommends If these versions are notably later
the merits of such study, noting in time, they are recorded
a distinct increase in vitality in separately The best source and
the later work coupled with a reference remains the formidable
deep feeling of romantic corpus established by Constable
nostalgia These qualities are [1 962], and the present author
expressed by a greater dramatic expresses his debt to that scholar
tension with an occasional at the outset The immense
unexpected cropping of the number of works in the manner
view, the unreality of which is of Canaletto makes it impossible
accentuated by a cold light to discuss details and models
Canaletto's isolation from the here Nevertheless an exception
local artistic world (which has been made for a group of
admission to the Academy did paintings that were considered,
not alter), his declining until recently, ma|or works of
popularity on the art market, and Canaletto, but which recent
the profound crisis of Venetian scholarship has assigned to
society (which has its effects on other artists The section below
should be consulted on the
Enlightenment) must have had question of imitations, of which
their influenceon him Other there are countless numbers,
aspects are also worth studying and collaborations Great care
in the later development of has been taken to check the
Canaletto, who continued to go locations of pictures, to locate
(Left) A
small eighteenth-century camera ottica (strictly speaking a
camera oscuraj In use out of doors (from a print by G F Costa)
(Right) Reflex viewer (open for use), which is traditionally believed
to have been Canaletto's, (Venice. Museo Correr).
those thai may have escaped
Constable's diligent research
and to locate those which have
changed hands since that
scholar's book was published
The extraordinary activity of the
art market makes impossible to
it
be absolutely certain of the
present location of works in
private collections. In some
cases the collectors have
preferred anonymity As to
illustrations, although the
greatest possible number have
been used, qualitatively inferior
versions of sub|ects that
Canaletto frequently painted
have not been used And there
are some works that could not be
shown because the works could
not be traced or the owners
declined to allow reproduction.
The Camera Ottica
Some contemporary and near
contemporary sources record
Canaletto's use of a camera
ottica Zanetti[1 771 ] says that
Canaletto "taught the proper use
of the camera ottica, and showed
what defects can be introduced
into a painting when its whole
perspective arrangement is taken
from what can be seen in the
camera, particularly the colours
of the atmosphere, and when
one does not eliminate things
offensive to the senses"
Manette confirms [1851-3] this
report It was repeated again
until Sagredo's time [in E De
Tipaldo, Biogralia degli Italian/
1 834]
illustri, We also know
such devices were very
that
commonly employed by view
painters. It is interesting that this
isconfirmed by Algarotti, for
example The most celebrated
view painters that we have
today make much use of it"
[1762].Zaisalsoon28 March
1 770 wrote to a patron in
Bergamo who had invited him
there "to copy" views of that
city: will bring my optical box
"I
with me", [in Camesasca, Artisti
inbottega. 1966] Recent
scholars have not denied that
Canaletto used this device, but
they have disagreed on just
what particular use he made of
it Opinion is divided between
those who think that he made
very limited use of the device,
and those who think that he
used it extensively Some believe
that he did not use it in executing
his view paintings ("taken from
nature" or "ideally imagined")
or in the preparation of
"finished" drawings, and they
consider it only in relation to his
ex tempore drawings from life
intended for later elaboration
(see Graphic work below). For
example Pignatti (1 958)
thought Canaletto did not use
the device very much, whilst
Gioseffi [1959] thought the
artist used it a great deal In any
case both scholars were really
concerned with showing the
expressive originality of
Canaletto and the formal dignity
of his results. Ragghianti [SA,
1 959] finally established a
balanced view of the situation
achieving a formulation
universally acceptable (see
Critical outline)
The instrument most
commonly used by eighteenth-
century view painters because of
its practicality, and almost
certainly used by Canaletto, was
a reflecting device constructed
on the principle (already well
known to optical science) of the
camera oscura A hole was made
in one side of a closed dark box
and external images were
proiected on the opposite side
of the box These images were
perspectively faithful but
reversed, upside down, and out
of focus These images could be
straightened out and made
sharp enough by the use of
mirrors and lenses and could
then be easily copied All the
work of the adjustment of the
images obviously had to be
carried out inside the box, and
this was inconvenient,
notwithstanding various
modifications (fabric on the
sides, etc ); also the box itself
had to be extremely large The
reflex viewer, adapted from the
camera oscura, was a small box
thatenabled the images
(collected as it were in a tube
with a lens and reflected by a
mirror set at an angle within the
box) to be projected on to a
glass screen Though with some
difficulty, one could place a
sheet of tracing paper on the
uneven surface of the glass and
trace the outlines of the images,
or one could simply make a
rough copy of this reflected
inverted image to be transferred
later to paper Since copying
was difficult, it may be assumed
that the device was used merely
to establish the colour
arrangement of the view, that is,
masses of colour
of the principal
For perspective lines and the
individual elements of a picture,
one would need a real camera
oscura, even though a much
smaller one. In this way one
could remain outside the box
and look into it, taking care to
cover one's head with a dark
cloth and resting the sheet of
paper on a surface of smooth
glass.) This smaller camera
oscura was transportable In the
storage rooms of the Museo
Correr, Venice, a reflecting
device has been found with a
large angle lens, bearing an old
inscription "A CANAL".
Although there is no
documentary evidence to prove
that this device actually
belonged to Canaletto (in the
post mortem inventory of his
possessions, which is extremely
detailed, no mention is made of
such a device), it may well be
one of the many and various
kinds that he used. It should be
pointed out, as Gioseffi [1 959]
has shown in his extremely (Top, left to right) Two sketches made perhaps with the camera ottica [the shaky line is typical of the
thorough discussion of the technique) and not elaborated: the Lido (Cambridge, Mass., Fogg Art Museum) and the Piazzetta
problem, that view painters (sketchbook, Venice Gallerie dell'Accademia)
must have used various kinds of (Centre, left to right) Drawing of the Piazzetta, with the column and the lion of St Mark, and a corner of the
optical devices and camere, Librena (Windsor Castle, Royal Collections); probably a pencil drawing made with the camera ottica and
depending on the particular then gone over in pen and ink Two similar drawings, more finished, with the Grand Canal and the Church
problem to be solved; the of the Salute (above) and the Grand Canal from Ca' Rezzonico to Palazzo Balbi (below).
observer could be either on the (Below, left) Finished drawing of the Island of Sant'Elena and the Lido (Windsor Castle), and (below)
outside or inside. J Meder [Die two sketches of figures (London. Witt Collection) (Right) Finished drawing of the Campanile of St
Handzeichnung, 1 91 9], H Mark's (Windsor Castle)
Fritzsche [Bernardo Be/lotto,
1936], and Camesasca [1 966]
have also examined the problem insidewere really useful for selection of lenses, apertures, but employed them as
Gioseffi notes that there were copying images, the others were etc , for he managed to correct instruments of scientifically
fixed and portable models of more suitable for observation the images (by slight alterations) controlled work and
both types of devices, the lenses and study As one can
far as and harmonise them with the subordinated their use to
were of three sorts, normal, determine today, and as demands composition. This
of aesthetic ends
wide-angle, and telescopic, and Gioseffi's experiments have must have been the source of
that a painter could make use of shown. Canaletto must have what is usually defined as his The problem of the
each kind of device But only the been extremely skilled in the use independence" He did not workshop
devices where the observer was of the camera, particularly in the make slavish use of the devices. Reference has frequently been
87
 made to a Canaletto workshop
because of the existence of
"strictly Canaletto-like"
Although there is no historical
evidence to prove that such a
workshop existed, these works
do suggest that there was indeed
an atelier, one that was both
efficient and very productive
This hypothesis would resolve
the question of classifying
paintings that cannot be
attributed to Canaletto himself.
It is not based on specific
research that might have
suggested a different view of the
artist's development from that
usually accepted Furthermore,
in our present state of
knowledge, one cannot even
suggest what this workshop
would have been like, because
we have no certain knowledge
of the organisation and
operating methods of the
workshops, despite the extent
and intensity of present studies
of the Venetian eighteenth
century, and in particular the
view painting "factory'' of the
Guardi brothers
It has been justly remarked
[Constable, 1962] that the
existence of a great number of
Canaletto like paintings which
cannot be attributed to Canaletto
because of their inferior quality
may largely be explained
"mutability" of view painting
general and that of Canaletto
particular Furthermore there
were many engravings
Canaletto's paintings, so that
one could easily and quickly
produce works resembled
that
Canaletto's without ever having
seen the original paintings
Outside the group of students
and followers who might have
worked in his putative workshop,
it would have been harder to
consult the originals And
Canaletto's popularity in the
market must have invited
extensive and indiscriminate
imitation It seems therefore
unlikely that Canaletto had any
sort of large workshop The
stylistic characteristics of his
paintings are so rigorous and
organically uniform that
hard to imagine that
collaborators ever took a hand,
and the extensive contemporary
sources of our knowledge of
Canaletto give no indication of
the existence of a workshop
Watson's hypothesis [1 949]
that Canaletto's many sketches
with notes about the paintings
to be made from them were
prepared for assistants who
would execute the paintings is
contradicted by the artist s
known procedure from the
sketch to the final execution
which has been established by
the analyses of Pallucchim
[1945], Pignatti [1958],
Gioseffi [1959], Ragghianti
[1959], Moschini [1963], and
others (See Graphic work.
below) However, it is
that he made use of assistants
occasionally First of all,
was his nephew Bernardo
Bellotto, who, Orlandi [1753]
says, saw his uncle regularly
In fact Bernardo enrolled in the
Fragha in 1 738 alongside his
uncle [Nicoletti, AVE, 1890]
He worked with his uncle until
about 1 742. when he began a
series of journeys (first to Rome
88
[1 949], suggesting that there "at least eight engravings by
was collaboration between Visentini in the famous
views Canaletto and Giambattista collection of [views of] the
Cimaroli, who had been Grand Canal"' and to "finished"
involved as early as 1 722 (see drawings at Windsor Castle
Outline biography) with [Moschini. A V. 1950] The
Canaletto in the funerary" sketchbook can be dated with
undertaking promoted by Owen some certainty, for many reasons
McSwiney and whom Tessm but chiefly because of the
linked with Canaletto in 1 736 uniformity of the drawing style,
[Siren, 1 902] Watson has.
. in to a fairly precise period,
fact, identified a painting of St between 1 728 and 1 730 at the
Mark's Square with a bull fight, latest Pignatti considers this to
formerly in the Jones Collection. be the correct dating He has
Chester, and now in Italy, that also found other drawings with
Dodsley considered as early as similar characteristics in various
1 761 to be a joint work of public and private collections
Canaletto and Cimaroli, datable Among these, fifteen sketches
to the period before Canaletto's formerly in the Viggiano
departure for England Collection, Venice, now divided
between the Accademia. Venice,
Graphic work and the Miotti Collection,
The immense quantity of Udine. should be mentioned
Canaletto's graphic work both Although the sheets are a
drawings and etchings different size and the drawings
constitutes an absolutely date from various periods, they
fundamental element (as recent formed a single unit with another
studies have shown), of any twenty sketches, and they all
understanding of the artist's belonged to the Corniani
development The drawings Algarotti Gallery, Venice Part of
have chiefly been identified by this collection later belonged to
their provenance, by stylistic Italico Brass, Venice, and is now
evidence, and by inscriptions in dispersed The location of only a
Canaletto's hand Few of the few of the drawings is now
$nr«fcfK-. drawings are signed (Few of the known [Constable, 1962]
paintings are signed either )
Some of them went to the Cini
Two major groups of drawings, Foundation and some to the
by the sketches from life or imaginary, Janos Scholz Collection, New
in [W- gr are related to his paintings York [Miotti,/1l/, 1966]
in There are rapid sketches that The most substantial corpus
suggest that they were used as of "finished" graphic work is in
of documentary notes They were Windsor Castle, where it went
made on the spot, perhaps with after George Ill's purchase
the aid of optical devices, were (Outline biography. 1 763) from
frequently marked with notes the English Consul Smith Most
t * about colour, topographical of the works though
are derived,
location, etc and were intended
, admirable in their independence
"* as preparatory for paintings or of style and treatment, from
«a,oi engravings, or for series of paintings that Canaletto did for
drawings There were also Smith, which the latter kept in
"finished" drawings his houses in Venice and his villa
n ;' \H.-; ff^u A large number of quick at Moggiano or sold to English
Ks5*r77f^'^^%7^r' /T«fi;4""" •
ȣ,?
Some
art sketches have been preserved in collectors of the
ro$§£THr>.: TWMZ+Js+i-.^*^, a bigalbum donated by Guido drawings, however, are
Cagnola to the Accademia, independent works or related to
(Top to bottom) Two of the splendid autograph engravings
Venice, in 1 949 It is a large etchings executed by Canaletto
published in 1744. one imaginative and the other taken from nature
a capriccio with a classical portico. Roman ruins and "modern'
album (228 x ca 170mm ) or others The Windsor
originally used as a note and Collection can be dated over a
Venetian houses. View of the Marghera Tower Drawing (detail)
sketch book. The drawings in long period of time, from 1 726-7
lor one of the 1 744 engravings, showing a river town (Cambridge,
black pencil were taken from to about 1 750 [ Parker, 1 948]
Mass Fogg Art Museum),
. its firm dating to 1 742 established the
it is
chronology of the whole series of engravings
life, and most of them were inked Many other drawings, of similar
later in Canaletto's studio. qualityand in various places can
There are 148 pages (74 be dated to different periods
and then to Lombardy and view painter Giuseppe Moretti numbered leaves) with 1 38 throughout Canaletto's career.
elsewhere), but must have also collaborated with Canaletto sketches and ten blank pages (See the careful inventory in
worked quite independently, as [Voss, RFW], though doubts The sketches are numbered Constable's catalogue [1962]
recent studies would indicate have been advanced [Constable, from 1 to 74, verso and recto and Hadeln's important study
[Kosakiewicz. A V. 1 964, and 1 962] and some have rejected The present binding, which [1930] Another group of
)
DBI. 1965, Pallucchim. VP. the theory outright [Pallucchim, must have been made in the twenty-two works deserves
1965; Pignatti. A V. 1966] 1 960] The inscription nineteenth century, is probably special mention Twenty-one
Michele Maneschi may have "Giuseppe Guerra" may be seen a copy of the original binding are in the British Museum and
worked in Canaletto's studio for at the bottom of an "ideal'' view [Moschini, A V. 1950. Pignatti. one is in the Landesmuseum,
a short between 1 730
period (the present location of which is 1958] We know that the album Darmstadt They consist of
and 1735 [Morassi. MF] There not known), alongside the was in Venice in 1 844 and was Roman views and were
Is evidence (see Outline abbreviation"AC", and this authenticated by the painters engraved by G B. Brustolon
biography), which includes the has made some scholars think G Borsato and T. Orsi under the [Watson, BM. 1 950, Constable,
engravings after drawings in the that this mysterious person, supervision of the scholar 1962] Many scholars date this
British Museum and the Museo known from adrawing with a E Cicogna But we do not know group to Canaletto's youth, but
Correr, Venice,executed self-portrait, signed and dated where the album was before some re|ect the attribution to
between 1735 and 1742, 1 760. now in Windsor Castle that, nor do we know how it Canaletto One other group
suggesting that Antonio [Constable], may be a came into the possession of should be mentioned It consists
Visentini was an active collaborator of Canaletto, Guido Cagnola Pignatti [1 958] almost exclusively of scenes
certain collaborator of Canaletto at perhaps during his English stay. wrote in the introduction to a "from life" or imaginary scenes,
least during those years This The theory that Francesco facsimile edition of the album with some ten sheets of figures.
there collaboration is indirectly Guardi worked in Canaletto's that "a great many of the It is thanks to Constable, once
confirmed by the fact that atelier seems less tenable and, sketches were used for again, that this group has been
Visentini was in touch with is in fact, unacceptable This was paintings in the group of works studied and dated
Consul Smith, for whom (among suggested by an uncertain entry preserved at Windsor, by the Canaletto's graphic technique
other things), he designed a in Gradenigo dated 25 April Duke of Bedford at Woburn and his use of materials was
palace that the Englishman 1764 ("a good student of the Abbey, and in the Harvey fairly simple and uniform He
built in Campo Santi Apostoh famous Canaletto "). A more Collection, formerly at Langley worked in pencil, mostly black
[Pallucchim, 1960; Levey, BM. interesting theory, and one that Park" and later broken up. He though occasionally red, and
1962] It has also been would be worth pursuing, has also said that some of these strictlyfrom life. Later he would
suggested that the mediocre been advanced by Watson sketches are directly related to ink these drawings with a pen,
usually goose quill or metal of
some kind He rarely worked in

brush and wash. It is, of course,

difficult to analyse the inks he
used Most of the works are now
sepia in colour, butpossible it is

that they were originally black

and have lost their original colour
through oxidation If this is the
case. Canaletto used very
ordinary inks that brown with
age The very few drawings
which have remained black are
those which one assumes were
done in Indian ink, which does
not brown Sometimes
Canaletto used a compass and
devices for drawing lines. He
also used a technique, peculiar
to him, described by Parker as
pin-pointing, which joined the
principal points and distances in
his architectural compositions
Canaletto's engraved work
consists of thirty-one aquaforte
etchings collected in the volume
that appeared in 1 744, with a some licence, as the artist was to the use of a very rich red
warm dedication to his friend do later in his maturest period, SB Vy M719- E background, strong contrasts of
and patron J Smith on the very The Arch of Septimius and that this was the fruit of "a Imaginary View of Rome lightand shade, and free impasto
beautiful frontispiece (there is a Severus Bergamo, Private serene mind and felicitious Pallucchini published this work brushwork, characteristics of
drawing for another version, collection genius'' [Zanetti] [AV, 1 964] and dates it near the the proto-Romantic imaginary
never etched, in the Morassi [AV, 1966] ascribed views in the Cini Collection view painting of Ricci
Kupferstichkabinett, Berlin
[Spranger, JPK. 1 904] There
are also three other etchings in
.
Canaletto as one
this painting to
of the artist's very first

He identified it as one of the

works 2 E$
The Arch of Constantine
11 3X148,51
•1719" I
(nos. 4
attribution
and

Morassi [AV. 1966],

5, below). The
was confirmed by
who dates
[Constable, 1962]

aquaforte Two of these are

known from a single
Windsor Castle [Fritzsche, GK,
copy at
paintings of antique subjects
mentioned by Zanetti [1 771 ].
The preparatory drawing is in
New York, Bracaglia
Collection ( ?)

Formerly ascribed to the

it to the first trip to Rome
7 E$ 82X63.5
•1722-

View of Rome
1 930], and the other from two

copies, one in the

Kupferstichkabinett, Berlin; the
otherin Windsor [Spranger].
Guarnati and Pallucchini, in
their fundamental work on
Canaletto's etchings 945],
established the date of these
works They related the single
work at Windsor to an
imaginary view from the album
(no 1 3 in their book) and the
other two (nos. 28 and 30) were
restored to their original
chronological order, which
firmly established after the
attempts of Meyer [1 878] and
De Vesme [Le peintre-graveur
italien. 1 906] The dating has
given rise to much debate, for
only one etching (no. 1 2) is
dated, 1 741 while the drawing
(now in the
,
the British Museum and belongs
to the series that Brustolon used
for his series of etchings,
the Museo Correr [Constable,
1962, no 713/223] (Constable
relates this sheet to imaginary
[1 views of the Arch of Septimius
now in Windsor Castle - signed
and dated 1 742 [no 205] - and
the Cincinnati Art Museum
[no. 213] .) Morf ssi notes that
this painting, like the later
imaginary views painted during
Canaletto's stay in Rome,
was reveals a tendency to alter
compositions from life
brothers Antonio and Giovanni
Paolo Gaspari [A, 1 91 3], it has
4 DO
H Q9 £T\ 113X149
1720-21
r=|
@
•
.
Formerly in the Agosti
Collection, Belluno Ascribed to
now in been published by Constable Classical Ruins: a Capriccio
Canaletto by Morassi [AV.
[BM. 1 964], who considers it to Venice, Cini Collection
1 966], who rejected the
be one of Canaletto's youthful This work, like the following one,
traditional attribution to Marco
works painted during or has been attributed to
Ricci (cf Valcanover, Catalogo
immediately after Canaletto's Canaletto's youth - about 1 723
delta Mostra di pitture del
stay in Rome, about 1 71 9-20 - by Morassi [VE, 1 956] and
Settecento nel Bellunese
Constable's view was accepted Constable [1 962], who paid no
[1 954]) It has correctly been
by Pallucchini [AV. 1 964] and acknowledgment to the former
dated to the Roman period or,
Morassi [AV, 1 966], The latter Morassi discussed the picture
rather, just after it, for it has been
relates the painting to a drawing again [AV, 1 963] and later [AV,
shown to be connected with the
of the same subject in the 1 966] dated the painting to
canvas of the "funerary''
British Museum which was. 1 721 (See also Valcanover in painting commissioned by
engraved by Brustolon Great Private Collections, 1 963,
McSwiney (see p 84) on the
with [Constable, 1 962, no. 71 3/222] andZampetti [CMV, 1967] )
basis of similarities with an
The two paintings reveal close engraving in the Tombeaux des
attention to the style of Marco Princes (1741) [Ibid.].
Ricci

Fogg
Cambridge) for another (no 9)
Art Museum, 5 M
[in £7\ 113x149 rq .
Vjt 1720-21 Ed
Classical Ruins: a Capriccio
* 8 ES>
Imaginary View of
•1722"

Rome
E3 o

was done in 1 742 Generally, Venice, Cini Collection Formerly in the Agosti
the more convincing studies See no above, for
4, Collection, Belluno (see no 7,

suggest that the plates were attribution The elements of above) It was also attributed to
begun in 1741 [Goering, GK. Ricci's style appear "composed Marco Ricci and then by Morassi
1941 ] or a year earlier [Pittaluga, and regenerated by an artistic [A V, 1 966] to Canaletto's
A, 1 934] The most persuasive personality that was already youth, at a time when he was
thesis of all [Pallucchini and sure of with great
itself, much influenced by both Marco
Guarnati] dates the execution of vibration of light and an almost Ricci's style and his own
the etchings between 1 740 and dramatic rhythm of composition experience in the theatre
1 743 Ragghianti has pointed so rich in details, episodes, and
out their great importance, visual wonders [Zampetti, ",

noting that the cutting of the CMV. 1967]

279.4x1421
etchings seem to be inspired by
the same sense of form and
9 E3S 1722 I

feeling that led Canaletto, in 73X55,5 Imaginary Funerary

painting as well, to upset 6 BBS •1722- Monument for Lord Somers
patterns of composition that Landscape with Ruins and a Oakly Park, Shropshire, Earl of
were more balanced and closed Renaissance Building Plymouth Collection
During his life, Canaletto Hartford, Conn Wadsworth ,
This work was commissioned by
provided paintings and drawings Atheneum McSwiney (see Outline
for engravings without executing This was traditionally ascribed biography. 1 772), who
the actual etchings These are to Marco Ricci, and has only mentioned it as finished in a
works of varying quality (see recently been attributed to letter of 8 March 1722

Outline biography) Canaletto by Morassi [AV. [Constable, 1962] According

1966] This attribution was
confirmed by the Venice
exhibition of the vedutisti (view
painters) [Zampetti,
1967] The picture is
nevertheless marked, though
is very
the transfiguration
personal and unmistakable, by
to this letter the landscape was
painted by Canaletto and
Cimaroli and the figures by
CMV. Piazzetta Canaletto probably
painted the architectural
elements as well The work was
not engraved in the Tombeaux
des Princes (1741
89
 : .

B. A small view (40.7 x 61 been an imaginary subiect of the

cm), initialled and dated ("AC. artist's youth, similar in its
1 731 "), was in a private theatrical composition to no 1 5
collection Venice until 1 937
in above
[Constable. 1962] It is not
certain that the work is by
Canaletto
C A view painting (1 1 4 x 74
17 H8V 146<234
724-25

The Grand Canal with the

cm.) of this sub|ect that
Rialto Bridge from Palazzo
appeared on the New York
Corner Spinelli Dresden,
market could not be traced by
Gemaldegalene
Constable, who places it in the
Mentioned in the 1 754
school of Canaletto.
inventories of the Dresden
A small view that also included
gallery It is generally attributed
the Scuola di San Marco to the artist's youth, and
(39 x 69 cm building, now ) in
considered slightly later than the
the Accademia, Venice (no
group executed for Stefano
494), is more likely to be by
Conti between 1 725 and 1 726
Bellotto
[Brandi, 1 960. Constable. 1 962
etc ] or slightly earlier
[Pallucchim, 1960] The
15 H6 ^ 18 3 23
3 predilection for diagonal
composition, still theatrical, and
Classical Ruins: a Capriccio
Milan, Private collection the colour relations, aimed at
This is the first absolutely creating an imaginary
certainwork by the young atmosphere, would tend to
Canaletto. because it is signed support Pallucchini'sdating
and dated Antonio Canal
"I,
Pallucchim says that it is a
1
723'' It was published by "view of noble proportions, a
Morassi [AV. 1963], who bold and serious attempt . .

remarked: The scene is treated fundamental to the beginnings

like a large-scale sketch, without of Canaletto's art; and that
accentuation of perspective transcended the influence of
lines or fixed contours, but with Carlevans and Marco Rico."
a skill with a sense of
perspective that surely captures
125x165
the essence of every form"
18 ea$ 1725

Church of Santi Giovanni e

X135 Paolo with the Scuola di
16 ESS
71
•1723"?
San Marco Dresden,
View of Rome with the Gemaldegalene
Venetian Monument to It is mentioned in the inventories

Colleoni a Capriccio : of the royal collections of

Signed "Antonio Canale[tto]" Saxony as early as 1 754 This is

Its provenance is not known almost certainly the work that

2,b Carlevans in the details.
10 ffl® i
Canaletto has achieved a [Ashby and Constable, BM, Marchesini mentions in a letter
1 925], and the work has been of 1 8 August 1 725, in which he
Imaginary Funerary theatre-like perspective an
Rio Dei Mendicanti lostfrom sight since its informs Stefano Conti of the
Monument for Archbishop occasion for an interplay of
chiaroscuro effects of great Milan, Mario Crespi Collection appearance on the Pans art purchase by the imperial
Tillotson Great Britain,
A See no A, above market in 1 938 seems to have ambassador of a view of the
style and force He noted a 1 1 It
Private coller.tk/"
Executed in t'.ie same way as no 9 "totally new sense nf light and
above and also mentioned in the colour", as compared to the view
letter of 8 Marc h 1 722, which
. painting of Carlevans and th.-l

says that only the landscape, certain traces still remained of

painted by Canaletto and Marco Rico's style
Cimaroh was finished, Pittoni B An autograph replica, slightly
was still at work on the figures, later and slightly smaller in
which he completed be'we^n size (1 37 x 200 cm.), was
October and November 1 726. published by Constable [1962]
The engraving is in the It is in the Bayensche

Tombeaux des Princes (1741. Staatsgemaldesammlungen,

Ill) Munich (no 5914)
A later version (not
autographed) is mentioned,
42x214
after Watson, by Consteble
[1 962] as the property of Cecil
12 ES8 •1723

Gosling at Barnngtcn l-bll The Grand Canal from

(Bishop's Stortford/ Campo San Vio Castagnola,
Lugano, Thyssen Foundation
A See no A. above, for

H®
1 1
14 5 2 05
11 -
172 3 1 provenance The subject was
frequently painted by Canaletto
St Mark's Square with the
B A beautiful version in the
Basilica Castagnola. Lugano,
Gemaldegalene, Dresden
Thyssen Foundation
(65.5 x 97.5 cm ), formerly in
A This scene was painted several the collection of the King of
times with only minor variations.
Saxony (1741) It was painted
It was identified, together with
no than 1 725. and is a
later
the next three canvases, with
companion piece to no 23 A.
paintings in the 1 767
alsoin Dresden
Description of the collection of
Constable [1962] tends to
Prince Josef Wenz?l It cane to
attribute two other versions, one
itspresent owner, alony with the
lost and one in Munich, to
other three works, from the
Canaletto as well
Liechtenstein Collection
Universally dated to shortly
before1 723. the year in which

Andrea Tirali did the new

13 HS 144X207
•1723

pavement of the square The Grand Canal from

[Watson, 949, Moschini, 1 954,
1 Campo San Vio near the
Pallucchim. 1 960. Brandi. 1 960. Rialto Bridge Milan, Mario
etc.] Pallucchim observed that, Crespi Collection
despite the influence of See no. 1 1 A, above
90 18 (Plates VII-VIII) 22A
Church of Santi Giovanni e Paolo 1 760, when it was in the
early as
at the painting exhibition at possession of the second Earl of
San Rocco [Haskell. BM, 1 956] Ashburnham, together with its
It is on stylistic grounds as well companion view [Constable,
a larger version of the same 1962]
subiect painted at the same time
for Stefano Contl of Lucca (see 43x58,5
no 1 9, below) 25 E3S 1725
-

The Riva degli Schiavoni

90X132 Companion piece to no 24.
19 53 <9 1725 above {q.v.).

The Grand Canal with the

Fabbriche Nuove from near 87 X 200
the Rialto Bridge Montreal, 26 53$ 1726

Pillow Collection The Harbour of St Mark's

A. Painted for Stefano Conti of
Lucca, between 2 August and
25 November 725 [Haskell, 1
BM, 1 956] Canaletto made the
following three views (20-2) for
him as well See also no 21
B Another version, simpler
details but of almost the
size (92 x 1 35 cm)
with the Island of San
Giorgio from the Piazzetta
The Hague, Thurkow Collection
A Constable [1 962] dates it
before 1 726-8, on the basis of
external evidence, that the top
in of the Campanile of San Giorgio
same was modified after 1 728 In this
is in the I J painting seems flattened. It
it

Lyons Collection, London. was probably done around 1 726,

Constable [1962] suggests it forit shows some of the sense of

might have been a replica the imaginary evident in the

painted after the success of the views painted for Stefano Conti
first commission, for another in 1725-6 (nos. 19-22).
member of the Conti family. B. A copy, of very
fairly faithful
C. Another beautiful version, fine quality, but seen from a
close in date to the prototype in point slightly farther away. It
the Pillow Collection (ca. 1 726, belongs to the Rasini Collection,
according Constable) but
to Milan (68,5 x 96,5 cm).
different in size (1 50 x 1 92
cm.) is in Pillnitz Castle, near
Dresden, together with a 65X86
companion piece (no. 42 A) 27 E3® 1725'

The Quay with the Doge's

91, 5X134. 5f
Palace and the Paglia Bridge
20 53$ 1725 t
Sabauda
Turin, Gallena
Another work (see also no. 26)
The Rialto Bridge with characterised by a dramatic
Palazzo dei Camerlenghi treatment of light and shade
Montreal, Pillow Collection
[Constable, 1962] It marks a
Executed as no 1 9 above A highpoint in the paintings
drawing in the Ashmolean executed in the style of these in
Museum, Oxford, [Moschini, the Pillow Collection, to which
1 954] is believed to be the it is very close in date It was
preparatory sketch once ascribed to Bellotto
[Ferrari, 1914], but this now
seems untenable.
21 H^ 90X132
1725-26
40.3x57
The Grand Canal with the
Church of the Carita towards 28 fse 1726?

the Harbour of St Mark's Study of Figures London,

Montreal, Pillow Collection Private collection (1 961
See no. 1 9 above for its origin This picture can be considered
According to Pallucchini [1960], together with the following two
in the Pillow views "Canaletto (nos 29 and 30) The techniques
carefully studied the 26A 26B were the same and they were
composition of the scene at a Collection, London [Constable. Saxony as early as 1 741 Fogolari and attributed it to done at the same time
particular time of day in order to 1962] Constable [1962] dates the Marieschi [Pallucchini, AV, Constable attributes the work to
extract a host of effects from the companion piece to 1 725—6 and 1966;Zampetti. CMV. 1967] Canaletto [AP, 1964] and
sunlit and shady areas from the this view to 1 726—8, though believes it was used for the
play of masses, which were
mostly reflected in the Grand
Canal He accepted the view
23 HS ^ 5
i
8
I agreeing that the works were
intended as companion pieces. 24 53®
43X58,5
1725*
painting of the figures
views of Windsor Castle dated
1 742 (nos. 204 and 205) There
in the

Entrance to the Grand Canal B. A variation (124 x 213 cm ) The Quay and the Right Side
"motif" of Carlevans but with a with the Church of Santa with the angle of vision to the of the Doge's Palace is no evidence of figure painting

much deeper feeling for Maria della Salute Dresden.
chiaroscuro, which naturally Gemaldegalerie
makes harmonies more intense. A. Companion piece to the
Thus he achieves a variety of view Grand Canal from
of the
colour changes from this
the Campo San Vio (no 12 B),
alteration of light and shade"' similar in style to the paintings
.
church altered It is of high This is close in date to the views, by Canaletto before this, not
quality and very close in date also painted on copper, that even in connection with his
(1 725-6, according to were done for the Duke of view painting However.
Constable). It is now in the Richmond This view is the Constable's arguments, despite
their shrewdness, are not
Louvre, Paris Although prototype of a frequently
considered by Morassi as well repeated composition It is a altogether convincing. The

[Pallucchini, 1960].
done for Stefano Conti (nos to be an autograph work by companion piece to no 25 Its technique has notable
1 9-22) Both paintings were in Canaletto, recent criticism has ownership, as recorded by precedents, however, in the
the collections of the King of taken up an old suggestion of Horace Walpole. is known as work of Carlevaris.

22 H8 91.5X136
1725-26

Church of Santi Giovanni e

Paolo with the Scuola di
San Marco Montreal.
Pillow Collection
A Painted for Stefano Conti, as
were nos. 19-21 (g v.); derived
from the Dresden painting
(no 18).
B A replica (92.5 x 135 cm .),
companion piece of 1 9 B,
probably painted for the same
client; is in the
it J Lyons I

9
 )) , :

31 tes XXIII XXV)

29 E©
Study of Figures London. The French Ambassador
Constable dates it as late as
1 730, considering it stylistically

different from the Pillow pictures The Bucintoro Returning to The Quay and the Riva degli
Private collection (1 961 Being Received at the Doge's (nos 19-22) The picture once the Quay on Ascension Day Schiavoni from the Harbour
See no 28. above Palace Leningrad. Hermitage belonged to Catherine II of Moscow. Pushkin Museum of St Mark's Toledo, Ohio,
This the final episode of the
is
Russia and is now in the The companion piece to no 31 Museum of Art
solemn entry of Jacques- Hermitage. Leningrad [CMV. above, and was also once the Companion piece of no 34 A
40.3x58.4 1967]. but in 1939 it was
30 BS© 1726''
Vincent Languet. Count de Gergi.
info Venice, on 4 November recorded as being in Berlin, in
property of Catherine II, and
then the Hermitage It should be
{q.v .), with the
The date (which Zampetti gives as
same provenance

Study of Figures London. 1 726 Hence the picture must the Tziracopoulo Collection contemporaneous with the 1729 30 [CMV. 1967J) seems
Private collection (1 961 have been painted at that time [Constable. 1962] painting above Constable the same, despite the two scrolls
See no 28, above or shortly after Haskell. BH.
[ [1 962] agrees and points out painted on the back: "Anton
1956. Brandi, 1960. etc 1. that the Bucintoro shown here Canale M zu Venedig / a.
is one built in 1 728-9 On
the 1740" and "No 1 91 Tablau [sic]
Ascension Day each year a Apartenant au Prince Joseph
ritual ceremony was performed Wenceslau de Liechtenstein"
uniting Venice and the sea. ( 1 740 clearly refers to the year
during which the Doge threw a the painting entered the
golden ring into the sea from the Liechtenstein Collection.)
sumptuous barge known as the A doubtful version exists in
"Bucintoro'' the Landesmuseum, Darmstadt,
(48,5 x 81cm .), convincingly
33 G3 ® SBE I [TBKL. 1911] considers it
autograph, but the museum
The Church and School of catalogue of 1 914 ascribes it
The Cant.) from the Marble to Bellotto
Workshop of San Vitale
(The Stonebreaker's Yard)
London, National Gallery
This was certainly painted before
00 Eil \y 1726-28' B S
The Harbour of St Mark's
1741 (or 1744?), when the
with the Customs House
campanile of the Church of the
from the Giudecca Point
Carita collapsed, but scholars
Cardiff. National Museum of
are unanimous in dating much it
Wales
earlier, between 726 and 1 7301
A An extraordinary youthful
[Watson. A V, 1 955; Levey,
achievement, both in the
1956. Constable, 1962]
originality of the composition
Pallucchini's dating to 1 726-7
and in the fine quality of the
seems most convincing [1960],
painting Constable's general
because, as he says, the "great
dating 1 962] of shortly before
[
panoramic breadth of the
1730 has been clarified to about
superbly theatrical shape of the
1726 [CMV. 1967]
composition" and the
B A wider view of the same
"remarkable control of the warm
scene (1 44,4 x 235 cm), taken
light" are characteristic of those
36A (Plate XXXI) from the Church of San Giorgio.
years and here they are achieved
Its date is close to the original
in a way that makes this
It is in Upton House,
painting one of Canalettos
Warwickshire
masterpieces
C A version 36 B (92 x 1 78 of

34
The Harbour
SS
of St Mark's
47*63
726-28'
cm), inferior and not
certainly by Canaletto, belongs
to the Earl of Malmesbury,
in quality

Heron Court [Constable, 1 962]

with the Island of San
Giorgio from the Piazzetta
Milan, Mario Crespi Collection
A Formerly in the Liechtenstein
Collection, where
considered to be by Bellotto
It was ascribed to Canaletto by
Seidhtz [TBKL, 1911]
Constable dates it after 1 726-8,
38 (Plate XVI)
when the flattened form of the
campanile of San Giorgio was
altered Zampetti agrees with
this dating [CMV, 1967]
Of GS3 v9 1726-28' E3 £
it was The Old Customs House and
the Giudecca Canal Milan,
Mario Crespi Collection
Formerly in the Liechtenstein
Collection Zampetti [CMV,
1 967], for "external" reasons
(former ownership, size, etc.)
and for reasons of style, connects
this work with the two

B A variant, close to it in date, preceding and the five following

in the Toronto Art Gallery works. Constable [1962] saw
(48,5 X 81 cm), convincingly some relationship between these

ascribed to Canaletto by paintings (see also Moschini

Constable [1954])
Constable has doubts about
46x62.5
the authorship of a replica of the
38E3S 1726-28'

m Crespi painting in the Darmstadt

Landesmuseum
dates it to the
(no. 1 36) and
1730s [1964]
Customs House Point
Vienna. Kunsthistonsches
J" 39A (Plate XXII) 39B
Museum Pillow Collection, Montreal
A fine work, which may be (no 21 ) However it was
related to the group of paintings certainly painted before 1 730
formerly in the Liechtenstein [Constable. 1962]
Collection (see no. 37 above), B A replica is in Windsor
marked by a freedom in Castle (47,5 x 79 cm] It was
composition and clear painted for Consul Smith and
arrangement of a variety of sold to George III (1 763). It was
motifs drawn and engraved by Visentini,
who included it in the 1 735
39 as 46x62
1 726-28'?
5 album [Moschini, 1 954]. This
suggests that the work was
painted before 1 730 and
The Riva degli Schiavoni
towards St Mark's Vienna. probably about 1 729, the date of
Kunsthistonsches Museum the whole series by Visentini
A. Constable [1 962] points out (see no 67, below) But it
that this is a companion piece to
might have been painted as
early as 1728
no. 38, but simply dates it before
1 745, the year the facade of the Constable [1 962] lists seven
Church of the Pieta was given
other variants, not autograph

Its new appearance See no 37, and attributable to the school of

above Canaletto. They are in various

B A variant (122 x 201 cm collections

)

with a different angle of vision,

150X198
certainly executed by Canaletto.
is in the Soane Museum, 42 E3S> 1726-28?

London It is close in date to, The Grand Canal from

though not part of, the Palazzo Balbi Dresden,
homogeneous group of works Pillnitz Castle
formerly in the Liechtenstein A Variation on a theme painted
Collection (see no. 37). It is earlier (Crespi Collection,see
related totwo drawings at no. 3 above) and frequently
1

Windsor Castle, one of which painted again. This one, the

can be dated to 729 [Watson, 1 companion to another work at
1949] Constable [1962] as Pillnitz (no. 19 C), is dated
well dates it c 1726-8 c 1726 [Constable, 1962]
Constable mentions some B A derivation rather similar to
eight variations of this view, the Crespi painting but
none by Canaletto stylistically akin to no. 42 A is in
the Accademia Carrara, Bergamo
47X63 (61 X 99 cm). A preparatory
40 E3$ 1726-28? sketch
Institute,
is in the Courtauld
London [Hadeln,
The Church of San Giorgio
1930]
from the Giudecca Canal
C. This painting, in the Uffizi
Originally part of the former
(45 x 73 cm), no
is related to
Liechtenstein group (see no. 37)
42 A The present author
Constable [1962] refers it to a
considers it to be by Canaletto
period just after 1 726-8.
(see also Moschini [1954] ).
D. A fine variant, containing the

41 HS 46X63.5
1726-28'
compositional elements of nos.
42 A and B, has been re-
46A
191X203 engraving that Boitard made
46B
(Alabama), Museum of Art,
The Grand Canal with the
Church of the Carita towards
attributed to Canaletto by
Constable [1 962] and dated
44 E3S 1 726-28 9 with only slight variations, Kress Collection
The entrance to the Grand published by Bandin in 1 736. A. A beautiful work of his youth,
the Harbour of St Mark's c 1728. ItisintheWarde perhaps slightly earlier than the
Canal with the Customs
USA, Private collection Collection, London (65 x 96

S & iS I
House and the Church of the views
six large at Windsor Castle
A. Formerly in the
Liechtenstein group (see no 37,
cm).
Salute Grenoble, Musee de 45 i
(nos 47 and ff
1964]
)
[Constable,
Peinture et de Sculpture The Piazzetta towards the
above) It varies slightly from the
view painted in 1 726, now in the 43 H ® l£& I •
A. Linked stylistically
large views painted in his youth
with the
Island of San Giorgio
Van Wulften Palthe, Oldenzaal,
B. A fine, slightly different
version, perhaps only a
the Borletti Collection,
little

The Island of San Giorgio and now in Windsor Castle (nos Ten Cate Collection
later, is in

with the Customs House 47-52), a group whose Milan (61 x 100 cm.) Its
Companion piece of another
authenticity is confirmed by its
from the Entrance to the homogeneity was identified by view (no. 49 B) in the same
Grand Canal Windsor Castle, Watson [1954] The dating is mention in Dodsley's Guide as
collection Both were formerly
Royal Collections influenced by this The selection early as 1 761
attributed to Bellotto but are
The form of the Campanile of of a view from above gives the
certainly by Canaletto For
San Giorgio provides a terminus painting a vivid theatrical effect.
post quern (see no 26 A),
which therefore gives an
B. A version in the Kauffman
Collection, Strasbourg (44.5 x
dating, see no 49 B, below.
47 B® ?^ !: 1 5

approximate date for this view,

painted for Smith and sold to
59.5 cm), is similar in angle of
view It is also similar in style and
George III. executed in a technique (oil on
Other versions noted by copper) typical of the years
Constable [1 962] are not by before 1 730 The terminus
Canaletto ante quern is established by the
46 m ® 532
The Grand Canal from
Palazzo Vendramin Calergi
to Palazzo Michiel dalle
Colonne Birmingham,
I The Entrance to the Grand
Canal from the Piazzetta
Windsor Castle, Royal
Collections
A Pan of the Smith collection
sold to George III (1 763) A late
dating, between 1 735 and 1 740,
was rejected by Watson [1 949],
who dated it, together with five
other works at Windsor, to
1726-8 Other scholars
[Pallucchini, 1960, Constable,
1 962; etc ] are in substantial
agreement about this splendid
painting (See also nos 48-52.
below, and no. 52 in particular)
Levey [1964] has justly
extended the period of execution
to 1 726/7-1 729. A drawing at
Windsor Castle (no 7445) is a
free variation rather than a
preparatory sketch [Parker,
1 948, considered it a sketch]

B There is another version

47 47 B 47 C 93
 ?

Watson places it in the group Collection

discussed under no 47
A drawing is at
related
Castle (no 7443) [Parker,
1948] Pallucchini [1960] wrote
that these six paintings present
"an easier and surer sense of
[1 949] This painting, like no 56, below,
Windsor is mentioned in the
correspondence of McSwiney
and the Duke of Richmond In
the letter of 28 November 1 727,
itis described as finished

perspective, with a slightly [Fmberg. WS. 1920-1] It is a

lighter [colour] although variation on the view painted in
warm tones still predominate, 1725 and now in the Pillow
the figures acquire a new Collection (no 1 9) It is unusual,
importance in the overall being painted on copper,
economy of the view,
painted as Canaletto only used this
they are with solid, thick technique in his youth, before
brush work and clearly delineated 1730 [Constable, 1962],
within a complex of surprising

51 52 (Plate XI) vitality Canaletto depicts a

monumental Venice in robust,
slightly gloomy tones, a Venice
56 H© 46X58,5

The Grand Canal with the

1727

experienced in a dense and

Rialto Bridge from the North
humid summer air"
Goodwood. Duke of Richmond
and Gordon's Collection
See no 55, above
53 ESS v9 E3 1726-30? !

The Rialto Bridge from the

the Fondamenta del Vin
Leningrad. Hermitage
57 H 46X62.5
1727"

The Grand Canal from

Incorrectly ascribed to Bellotto
Campo San Vio towards the
in the 1 899 catalogue of the
East Holkham Hall, Earl of
Hermitage It is in fact an early
Leicester s Collection
work of Canaletto. certainly
Companion piece of no. 58
painted before 1 730, perhaps
(qv).
inspired by an engraving by
Carlevans (no 57 in the

49fi
Fabbricche) [Constable, 1962]
58 H® 45.5X62,5
1727*

The Rialto Bridge from the

1

54 H8 "14x89
1726-30'
South Holkham Hall, Earl of
Leicester s Collection
The Churchofthe Salute The technique and style suggest
and the Customs House a date in the artist's youth, about
from the Vicinity of Palazzo the time of the works for the
Cornaro Berlin, Staathche Duke of Richmond (nos 55 and
Museen-Gemaldegalene 56) Companion piece of no. 57.
It has the stylistic features of in the same collection Both
paintings of this period, though works were acquired by 759 1

with a certain stiffness and [Constable. 1 962], They were

harshness that have puzzled mentioned as early as 1 773
some scholars Constable (Brettigham, The Plans ol
1 962] ascribes it, with some
[
Holkham 773] Engraved
... 1
caution, to Canaletto, and dates by Fletcher and published by
it roughly to the period ol the
Baudin (1739).
Castle, Royal Collections Pillow pictures (nos. 1 9- 22).
(known also as the Fish Market) the series reconstructed by A drawing, with
that is certainly by Canaletto
very fine, and
[Pallucchini,
is close
960] to 47 A It is
in date
and Watson [1949]
A
(see no 47)
closely related drawing is also
See nos 47-50, above A
drawing at Windsor Castle
(no 7444) may have been a it. is at Windsor Castle (no
a
view, that seems to be related to
more "open"
59 H& 46.5X62

The Riva degli Schiavoni

1728?

1 preserved at Windsor Castle 7461) [Parker, 1948]

preliminary version [Parker, 948]
in the Metropolitan Museum, (no 7429)
1
towards the West
New York (131,5 x 130 cm.) B Derivation from the above- Trustees of the Chatsworth
170,2X129,51
C Another autograph version,
similar in composition to the
mentioned drawing suggests
that a small view of the Square
52E38 1 726-29'' I 55 S& 46X58.5
1727
Settlement and the Devonshire
Collection
New York view and painted (Van Wulften Palthe, Ten Cate The Piazzetta towards the The Grand Canal from near Companion piece to no. 47 C
about the same time, belongs to Collection; 29 x 28 cm.) is Torre deM'Orologio Windsor the Rialto Bridge towards It came from the Duke of

the Trustees of the Chatsworth related to the Windsor paintings Castle, Royal Collections the North Goodwood, Duke Devonshire's Collection
Settlement and the Devonshire This small view, like its Formerly dated 1 735-40. of Richmond and Gordon's (although the 1 792 inventory
Collection (46 x 61 cm ) It is a companion piece in the same
companion piece to no 59. collection (no 45), is certainly
the work of Canaletto, although

48 m s- 70x132
726-29
it was
Bellotto
formerly ascribed to

The Piazzetta towards the

170x129 5f
Island of San Giorgio
Windsor Castle. Royal
5OE3® 1726-29?
-

ftiliij
Collections St Mark's Square towards
Also painted Smith and pari
for the Church of San
of the group mentioned under Geminiano from the
no. 47 A, above There are four Piazzetta Windsor Castle,
drawings which are certainly Royal Collections
related to this painting two at
One of the most remarkable

Windsor Castle (nos 7442, works in the series grouped

7446), the first of which is together by Watson [1 949]
"finished"; one in the (see no. 47) Related to a
Ashmolean Museum, Oxford; drawing at Windsor Castle
and one in the album in the (no 7434) [Parker, 1948] and
Accademia, Venice (fol 2 v.).
to a preparatory sketch of two
figures in the album in the
Accademia, Venice (fol 58 r.)

49 S ® 13 3 3
1
x
72 e .^
7
I i
[Constable, 1962]

St Mark's Square towards

51 ESS®
170 *
1726-29?
1335 "
Ed
the Basilica from the
Procuratie Nuove Windsor St Mark's Square towards
Castle, Royal Collections the Procuratie Vecchie
A. Another very fine piece from from the Basilica Windsor
94
 of Bolagno, arrived in Venice Doge's Palace (no 66) and the
[see alsoZampetti, CMV, 1967] Piatzetta (no 65) in a private
Constable [1962] rejected collection in the United States
tradition that Tiepolo painted the
figures in this
the
1730
view and dated
work somewhat later, about
Pallucchini [1960]
65 H6
The Piazzetta towards the
46X63
1729-30

pointed out connections

Island of San Giorgio with a
between this treatment by
Canaletto of similar themes by
View of the Basilica and the
Carlevans and paintings in the
Doge's Palace USA. Private
collection
Birmingham (1 707) and
Constable [1962] connects the
Dresden (1726) galleries (See
work - which certainly dates
no. 67 B, below.)
after 1 728, because of the new
form of the campanile of San

62 H& 95
i^V
7
1 Giorgio - to the views showing
the Church of San Geremia and
Campo San Giacometto the entrance to Cannaregio (no.
Dresden, Gemaldegalerie 64) and to that of the Grand
This celebrated view was Canal from Ca' Foscan (no
inventoried among the 71 C), all of which can be firmly
possessions of the King of dated between 1 729 and 1 730
Saxony in 1 754 The dating of
this work and no 63 to just
before 1 730 has been confirmed

Constable [1962] and 66 ES % 1

46
7 29-30 H S
generally accepted [Zampetti, The Quay with the Right Side
CMV. 1967] There is a drawing of the Doge's Palace
in the Seilern Collection, USA, Private collection
London, whose authenticity is This forms a set [Constable,
guaranteed by a handwritten 1 962] with the preceding work

inscription by Canaletto Hadeln and with no. 64 C All three

[1930] considered it a were formerly in the
preparatory drawing, but Liechtenstein Collection
Constable judges it to be later
than the painting

67 E53 v9 1729-34? Q !
96X117
63E3S> 1729''
The Bucintoro Returning to
the Quay on Ascension Day
St Mark's Square towards Windsor Castle, Royal
the Basilica Collections
This is one of the first versions of A One of Canaletto's favourite
a subject Canaletto frequently subjects The first version (no
painted Formerly in the Dresden 32) is in Moscow This version
Gemaldegalerie, along with its was in the collection of Consul
companion piece (no 62), but Smith. It is reproduced in
was no longer to be found
it
Visentim's album of 1 735 (pi
after World War II
XIV) In view of this fact, which
affects all fourteen of the
reproduced paintings, Watson

does not list it) Constable
[1962] argues that the use of
copper as a support makes it
60
The Dolo Locks
64 ES® C3
4
1729-30 •
[1949], Pallucchini [1960],
Constable [1 962] and others
The Church of San Geremia date the works to just before
and the Entrance to 1 730, because of Smith's letter
Cannaregio Ttssington Hall, toSamuel Hill (17 July 1 730), in
Derbyshire, Fitzherbert which Smith says that the
Collection Visentini prints are almost ready
A Version of the subject [Chaloner, BJRL. 1950]
depicted in the view in Windsor Consequently they reject
Castle (no 79) but without the Levey's dating [BM, 1953] (see
balustrade and statue. Hence it no. 68, below). Levey discussed
is earlier than 1 742 - and by the matter again [1 964] and his
several years, judging by the view that the fourteen pictures
H&
Oxford,
might be by Canaletto. the one
inthe Dunkels Collection,
Sussex [Constable, 1962].
style.
some
execution
Constable
assistance
[1

in
962] sees
the
which Visentini engraved
should be dated between 1 729
and 1 734, seems the most
datable to the artist's youth, and Ashmolean Museum B. Another version (46,5 x 78,5 likely. A drawing related to the
that this is confirmed by the A. It was Watson [A V. 1950] cm.) without balustrade or following two versions of the
stylistic qualities of
He
the painting
also suggests that these
pictures may be the ones
two
who identified the subject and
dated the work before 1 729 (or
better, 1 728), the year in which
61 HS 184X265
1729

The Imperial Ambassador

mentioned in the 1 727
correspondence between
McSwiney and the Duke of
Richmond about the other two
still in the Richmond Collection
(nos 55 and 56)
statue is in a private collection in
England Constable dates it to
just after 1 730 The work seems
subject is in Windsor Castle
(no 7451).
B. A fine version in the Aldo
the new Dolo church, not shown Being Received at the Doge's fairly similar to the Windsor Crespi Collection, Milan, (182 x
here, was dedicated. Palace Milan, Aldo Crespi Castle version (no 79). 259 cm) is a companion piece
B Among other versions Collection C. A version in an Italian private to no. 61 and hence datable
discussed by scholars, only one Usually dated to shortly after collection (46 x 73 cm.) is also shortly after May 1 729
- and that one doubtful and 16 May 1729, the day the datable to 1 729-30 It is similar [Zampetti, CM V, 1 967]
certainly late (80 x 95,3 cm Emperor's envoy. Count Joseph in style to the Quay with (he C. Another good version.

67A 67B (Plates XXVIII-XXX) 68A (Plates XLIV-XLV) 95

 70A /Plate XXVII) 70C
contemporary or slighly later, in Levey [BM. 1 953] argues that B One version, close in date, is be considered autograph Some ascribe it to Bellotto,
an English private collection the work must date no earlier an English private collection
in B An autograph version in the though Constable [1 962]
(1 50 x 218 cm) is a companion than 1 732. because the insignia (150 x 218cm It is the
) Museum of Fine Arts, Houston, assigns it, with its companion
piece to no 68 B [Constable. of Carlo Ruzzini. Doge from June companion piece of no 67 C (49,5 x 72,5 cm), the piece (no 83 A), to Canaletto
1962] 1 732 to January 1 735, appear companion piece to no 70 B Its dating remains an open

D Another version, of doubtful on the Bucintoro (and this is also Documents indicate that it was question (see no 83 A)
attribution,
collection
cm
is in a private
in Milan (1 00,5 x

[Constable. 1962]
1 08
shown in the Visentini
engraving) Constable rejects
this theory, arguing that the
69 HS 47x78
729-34?

The Grand Canal from the

painted about 1 730 or a little
earlier [Constable. 1 964].
C. An autograph version of
C A good version (101 x 162
cm), in the National Museum,
Stockholm The fact that it may
)

coat-of-arms could have been Rialto Bridge to Ca Foscari no 69 B (54. x 91,5 cm ). of have been purchased in Venice
added some time later Levey Windsor Castle, Royal uncertain date, is in the Mills in 1 736 by Tessin [Siren, 1 902],

68 0$ 77 x 126
1729-34?
[1964] disagreed with
Constable, who observed that
Collections
A Visentinis engraving of this
Collection, Hillborough
(Thetford) [Constable, 1962]
D A version that anticipates the
suggests a dating before 1 736
In any case it is close to the

Regatta on the Grand Canal this is the first regatta by painting appeared in the 735 1 Windsor Castle version in style.
Windsor Castle. Royal Canaletto He indicated the album (pi I) Thus the work can treatment in the latest version Constable [1 962] would date
Collections source as Carlevans' painting in be dated as nos 67 A and 68 A (no, 1 1 7) is in an English private it about 1735.
A Visentini's engraving of this Fredenksborg Castle of the and as the next ten paintings, collection (45 x 75,5 cm.)
was the 735 album regatta in honour of Frederick below together with a companion
painting in IV
m© 46X77,5
1

(pi XIII) Constable therefore of Denmark in 1 709 Constable [1962]

versions, including
lists

one
three
the
piece (no 72 B) It dates from
about 1730
72 j 729-34?
dates the painting to |ust before Five derivations in various in
The Grand Canal from
1 730 [1 962], together with all places are mentioned by Alvan Fuller Collection. Boston
Campo San Vio towards the
the pictures reproduced
album, in particular no 67 A
in that Constable but not considered
autograph
Its authorship is highly

questionable, and it should not

70 E©^
The Entrance to the Grand
9 5
? 1:
Church of the Salute
Windsor
Collections
Castle. Royal

A For Visentini's engraving

Canal with the Customs
(pi IV) and other information,
House and the Church of
see nos 67 and 68, above.
the Salute Windsor Castle,
B Another version,
Royal Collections
contemporary or slightly later, is
A The engraving of this
in an English private collection
painting is plate VI in Visentini's
(45 x 75,5 cm) and is a
album 735 For
of 1 dating, see
companion piece to no 69 D
nos 67 A and 68 A
According to Constable [1 962],
B. A fine variation (49.5 x 72,5
who published them, they are
cm) in the Houston Museum of
two works mentioned in an
Fine Arts has been dated closely
unpublished letter from the
to the Windsor version, because
Venetian merchant Sasso to Sir
of a document found and
Abraham Hume (1 1 February
published by Constable [1 962)
1789) "two small views by
This document, of 22 August
Canaletti [sic] ... among his
1 730, contained Hugh Howard's
most beautiful ones".
announcement of the arrival of
C Another version, also
the painting, which he had
mentioned by Constable [1 962],
purchased together with a
who dates it before 1 730,
companion piece (no 69 B)
belonged to the Whatman
from Smith (SeeZampetti
Collection. Kent (now in an
[CMV, 1967]).
English private collection). It is
C. Another fine version, dated
bigger (1 29,5 x 1 65 cm) and
to just after 1 730, is in the Poss
the view is larger
Collection, Novara (58 x 91,5
D Probably of the same period
cm); it is the companion piece
and certainly autograph is the
to no. 75 C.
version in the Brooks Memorial
D Another version, very close
Art Gallery (Kress Collection),
in style to the Houston painting
Memphis. Tennessee (1 13 x
but weaker and of uncertain
1 67,5 cm); the companion
attribution (it was once even
piece to no 82 B
ascribed to Bellotto) is in the
For another version, see
Rocchetti Collection, Rome
no 57, above.
(84 x 133 cm )
Constable [1962] mentions
47.5X79.5
many other versions, some of
uncertain authorship and some
73E3©i 729-34?
I

certainly not by Canaletto. The Entrance to the Grand

Canal with the Church of
the Salute Windsor
71 H^
The Grand Canal from Ca'
47
i
8
72V.3
4°?
5
I: Royal Collections
For Visentini's engraving of this
Castle,

picture and for other information,

Foscari towards the Church see nos 67 and 68, above The
oftheCarita Windsor Castle, first treatment of this subject by
Royal Collections Canaletto dates from some years
A For Visentini's engraving earlier (see no 23, above).
(pi and other matters, see
II)

nos. 67 and 68, above

B Another version, with a
different angle of view, is in the
74 GS3 v9 1729-34?

Wallace Collection, London The Grand Canal with the

(44,5 x 75,5 cm.) The Rialto Bridge from the North
authorship is much debated Windsor Castle, Royal

96
Collections
For Visentini's engraving of this
pictureand for other information,
see nos 67 and 68. above
75 Eu v9 1729-34?
The Grand Canal from near
the Rialto Bridge towards
the North Windsor Castle,
Royal Collections
A. Earlier treatments of the
subject are nos 1 9 A and 55,
above For Visentini's engraving
of this picture and for
information, see nos 67 and 68,
above
B A very cold version,
considered autograph despite
some doubts, and of uncertain
date, is in the Musee Cognacq-
Jay, Paris (48,5 x 79cm .);
companion piece no 99 C
to
C. Another autograph version
is in the Poss Collection, Novara
(58 x 92 cm.); companion
piece to no 70 C
A. For Visentini s engraving of
this and for dating, see nos 67
and 68, above For this picture,
Constable [1964] confirms the
date (before 1730) which he
had already advanced for all the
h : paintings in the Windsor Castle
series [1962]
B. A splendid version in the
Mario Crespi Collection, Milan,
(58 x 80 cm ) was engraved by
Fletcher and printed by Baudin
in 1 739 [Finberg and Watson, 75A
BM, 1955]. An eighteenth-
century inscription on the back
other
says that it was painted "about
1 730" This suggests that the
person who commissioned it
may have been Colonel E.
Burgess, an Englishman who
lived in Venice from October
171 9 until March 1722, and
again from December 1 728 until J^**i
his death in November 1 736
[Morassi, BM, 1 955, Constable,
1962]
^UJ?iAt*
78A
7QRSA
I 57 EH Vy
46.5X78.5
1729 or 1742?
H»
H i

47X80 The Entrance to Cannaregio

76HS> 1729-34? and the Church of San
The Grand Canal from Geremia Windsor Castle,
Palazzo Vendramin Calergi Royal Collections
towards San Geremia Visentini did an engraving of r ||j
Windsor Castle, Royal this for his 1 735 album (see 1 ,
Collections nos. 67 and 68, above) But the
For Visentini's engravings of this engraving, the preparatory
picture and for other information, drawings in the Museo Correr
see nos 67 and 68. above. and the British Museum and the
sheet itself (at

no. 7475), whose

Windsor Castle,
attribution to
SWjjjjj
77 S VJ 1729-34? E3 S Canaletto is controversial, do 82A 82B
The Grand Canal with the
Church of San Simeone
not show the
statue of St
balustrade and the
John Nepomuk
These were put up at the
of the Salute towards the
Left London ?). the late Lord
(

Egerton of Tatton s Collection

81 H$
The Riva degli Schiavoni
58,5X102
1730
I
t
Staathche Museen-
Gemaldegalerie.
A. The subject had already been
Piccolo towards the
Fondamenta della Croce entrance in 1 742 or 1 743 Two 730 to S. Hill
letters of 1 with the Doge's Palace painted about 1 725 (no 24,

Windsor Castle, Royal

[Arslan, BA, 1926-7]. The [Chaloner. BJRL, 1 950], one towards the East London ( ?), above) It is dated on the basis
statue does appear in the 1 742 from Smith (17 July) and the the late Lord Egerton of Tatton's of style [Moschini, 1 954].
Collections
For Visentini's engraving of this
edition of Visentini This raises £ other from a nephew ( 1 5 Collection B A contemporary version (or
difficulty in dating the painting, December) make the dating of Companion piece no 80. It is
of slightly earlier?), companion
picture and see nos
for dating,
in which the statue is shown this picture and its companion connected with a drawing at piece of no 72 D, is in the
67 and 68, above The date is
certain because of the
The style of the painting is like piece (no 81 ) certain A drawing Windsor Castle (no 7452) and Museum of Art (Kress
that of the other works in this at Windsor Castle (no 7460) and with another in the Collection), El Paso, Texas
incomplete state of the parapet
group (see nos 67 and 68) another in the Pennsylvania Landesmuseum, Darmstadt,
San Simeone,
of the staircase of
which was only completed by
1738 [Constable. 1962]
Constable [1962] advances the
rather difficult hypothesis that
Canaletto retouched and
Academy of Fine Arts,
Philadelphia [Parker, 1948] are
related to the picture The latter
which bears the autograph
inscription "View toward the
castle, that is, of the piazzella.
83 0S
The Grand Canal from
^4,5X75.5
1730-

"up-dated" his painting after is also connected with an March 1 729, Venice" [Hadeln, Palazzo Flangini towards
the new balustrade was set up important sketch, now the San Marcuola London,
78 Eal v9 EJ 1729-34?
De Burlet Collection, Basle
in 1930]
Wallace Collection
82ES8
J
73 • 123
The Grand Canal at Santa
Chiara towards the Lagoon
Windsor Castle, Royal
80S6 58.5X102

The Quay with the Libreria

1730
[Constable, 962], which bears
1

the autograph inscription "1 729,

view of the square toward the
The Quay with the Doge's
Palace towards the Church
1730? A A controversial
.companion piece (no
work,
71 B),
doubtfully attributed to Bellotto
like its

Collections on the Right and the Church sea" [Hadeln, BM, 1926]. of the Salute Berlin, Constable re-attributed it to

97
 A .

the drawing was copied from

painting to serve as a basis for
later versions.
the
88 H^
Entrance to the Grand Canal
47x79
1730-31

B Perhaps this is one of the with the Church of the Salute

later versions (79x1 24.5 cm ) Woburn Abbey, Duke of
considered autograph by Bedford's Collection
Constable [1962] It is in the A For the history and dating,
Weitzner Collection, New York see no 84 A, above This subject,
C. Another version, close in which was dear to Canaletto's
date, because of great similarity heart, was first painted in the
of style, in the Speelman Windsor Castle version (70 A)
Collection, London (80 x 127 B This version (53 x 70,5 cm ),
cm). of controversial date, was
D No comment can be made engraved by Fletcher and printed
about this version (75 x 1 18 by Baudin in 1 739 It was in the
cm.), formerly the property of possession of Rosenberg and
the second Duke of Newcastle Stiebel, New York, in 1 956 The
(see no 85 B) and now lost It companion piece no 140 A,
to
was, however, certainly earlier it is datable before 1 735 because

than 1755 [Constable, 1962] of style and outside evidence

89 B 7
i
78 7
73o 3,

The Grand Canal from

87A 87B Palazzo Cornaro to Palazzo
47x80 Contarini dagli Scrigni
87 E3£ 1730-31 Woburn Abbey, Duke of
Bedford's Collection
The Quay from the Harbour
A Related to some sketches in
of St Mark's Woburn Abbey,
the Accademia, Venice, as
1 1 Duke of Bedford Collection
s
a A For its proveiuince and
shown by Pignatti [1 958] and
1

. * <I
i91 Visentini's engraving (1735;
Gioseffi [1959]
again in the
It was used
742 edition of
E£uj«
1
pi XIV). see no 84 A above It
Visentini's engraving (II, pi X).
is also related to a "finished"
perhaps after "finished''
drawing at Windsor Castle (no
autograph drawings at Windsor
7451 which may have been
)

Castle (nos 7469 and 7470

used for his frequent portrayals
[Parker, 1 948] ) See also no
departure of the
of the arrival or
84 A, above
SS/1 Bucintoro on Ascension Day
B A good version is in the
[Constable. 1962]
Hampden Collection, Alton
B A more open " version
(because of a slight shift in
(Hampshire) (44,5 X 76 cm ),

part of a series of four (see no

angle of view), but certainly
1 10 A, below) Slightly later in
based on the Windsor drawing
date
mentioned above, in the Uffizi,
Florence (51 x 83 cm.) A fine
47X80
work but hard to date, though
certainly painted before 1 755,
90H<S> 1730-31

when the third storey of the The Grand Canal from

clock tower, not shown here, Palazzo Contarini dagli
was completed It belonged to Scrigni to Ca' Rezzonico
394 91 the Medicis before 1 796 Woburn Abbey, Duke of
Abbey. Duke of Bedford's Fritzsche erroneously attributed Bedford's Collection
Canaletto [1962] cm ) in the Cartwright
B Another versidn, very Collection. Aynhoe Park Collection ittoBellotto [1836]. A For its provenance, see no
A For its provenance see no C. Another, larger (65 x 103 84 A. above It can be related to a
probably autograph and of fine (Northampton), is also probably
quality, belongs to the Jones contemporary, companion 84 A, above It is a variation of cm ) version, with some drawing in Windsor Castle and
the subject already depicted in differences in detail, autograph to a series of six sketches in the
Collection. Minneapolis piece to no 90 B
one Windsor
of the six large It is a than the Woburn
little later sketchbook in the Accademia,
(60 x 92.5cm). D Also probably contemporary,
because of the impasto and the Castle views (no 52) and is Abbey prototype, and belongs Venice [Parker, 1948; Pignatti,
soft atmospheric tonality This related to a drawing at Windsor to the Earl of Cadogan 1958]

84 HS 79 47
1730-31
beautiful version (61 x94 cm
is in the Douglas Pennant
)
Castle and another in the
Landesmuseum. Darmstadt,
dated 1732 but highly
D

1 1
Another autograph version
with very rich colours (68,5 x
3,5 cm) In the Duke of
B A fine version (61 x 92,5
cm.) was formerly in the
Cartwright Collection. Aynhoe
St Mark's Square towards Collection, Penrhyn Castle,
controversial [Hadeln, 1930, Norfolk's Collection, at Arundel Park (Northampton); the
the Basilica Woburn Abbey. Wales
Arslan.<4S. 1949, etc .], Probably Castle companion piece of no 84 C
Duke of Bedford s Collection
A This is one of twenty-four
views,
of the
all

same
but two of which were
format, painted by
85 HS
St Mark's Square from the
47x80
1730-31

Canaletto for the Duke of Basilica towards the Church

Bedford during the latter's tour of San Geminiano and the
of the continent before 1 731 -2 Procuratie Nuove Woburn
[Scharf, Catalogue of ... Abbey. Duke of Bedford's
Pictures at Woburn Abbey. Collection
1889] The series is still owned A For Visentini's engraving
by his descendants and (1742. pi. XL) and other

unanimously dated about information, see no. 84 A,

1730-1 [Moschini, 1954.
Brandi. 1960. Pallucchini. 1960;
Constable. 1 962. etc
were used by Visentini for the
complete edition of his album
(see no 67. above), published
in 1 742 (and included in the
1 735 edition) This subject was
above "Finished'' drawings
related to this painting are in
] Some Windsor Castle (no 7433) and
in the Louvre (no 4794)
[Hadeln, 1930, Parker, 1948]
B The whereabouts are now
unknown of a version (75 x 118
cm acquired by the second
)

reproduced in 1 742 as well Duke of Newcastle (see the

B Aversion (88.5 x 111,8 post mortem inventory, drawn
cm.) dated by Constable to up in 1794 [Constable, 1962])
some time after 1 725-6 and so
contemporary with no 84 A, is
in the Barlow Collection.
Wendover (Buckinghamshire)
86 E0 & 47X7M R
The Piazzetta towards the
1730-31 E3
~
a

§8 C The version (61 xc92,5 Torre dell Orologio Woburn

93A 93D
97 (Pi
47X80
91 EOS 47*80
1730-31
1 761 as in

Sampson Gideon
the possession of Sir
It was shown
pointed out by Pignatti [1958]
and Gioseffi [1959],
98 EOS' 1730-31
Bedford's Collection
A For the provenance of the
The Grand Canal from Ca' at Agnew's, London, in 1 955, The Grand Canal from the painting, see no 84 A, above
Rezzonicoto Palazzo Balbi and is related to the Leor Church of Santa Croce to A drawing at Windsor Castle
Woburn Abbey, Duke of version The companion piece the Church of San Geremia (no. 7476) [Parker, 1948], is

Bedford's Collection of no. 109 A Woburn Abbey, Duke of related to the painting, as are
47x80
A For its provenance, see no
84 A. above Several sketches in
D. Another autograph version
(76 x 120 cm ) of the Leon
97E3$ 1730-31
Bedford's Collection
For general information, see no
some sketches in the
sketchbook in the Accademia,
the sketchbook at the painting, in the Mario Crespi The Grand Canal from 84 A. above A "finished" Venice [Pignatti, 1958]
Accademia, Venice, are Collection, Milan; companion Palazzo Bemboto Palazzo drawing at Windsor Castle (no B A rather cold version, but
preparatory for this work piece to no 1 09 B, in the same Vendramin Calergi Woburn 7472) is related to the painting very probably autograph, in the
[Pignatti, 1958; Gioseffi. 1 959], collection Abbey, Duke of Bedford's [ Parker, 1 948], as are some Wallace Collection, London
and there is a related "finished'' Collection sketches inthe sketchbook in (58x92 cm.) Derived from the
drawing at Windsor Castle For the provenance of the the Accademia, Venice [Pignatti, drawings mentioned above, it is
47v 80 no 84 above 1958] These sketches were also
(no. 7468) [Parker, 1948]
B The version in the Mills
94 EOS 1730-31
painting, see
(See also Pallucchini
A,
[1 960] used for the slightly later version
very similar to Visentini's
engraving (1742, II. pi. I)

Collection, Hillborough, The Rialto Bridge from the andZampetti [CMV, 1967]). of the same sub|ect (see no. 114, Companion piece to no 94 B, in
Thetford, probably autograph
is South Woburn Abbey. Duke Some drawings in the below) the same collection
(59,5 x 127 cm.) of Bedford's Collection sketchbook in the Accademia, C Another version, difficult to
A For provenance, see no Venice, are certainly connected 47x80 date but almost certainly

47X80
its

84 A, above The composition with this painting [Pignatti, 99 EOS 1730-31 autograph, is in the Musee

92 EOS 1730-31
The Grand Canal from
Palazzo Corner Spinelli to
the Rialto Bridge
Woburn Abbey. Duke
Bedford's Collection
For its provenance, see no 84 A,
above. It isa variation on a theme
already depicted in the youthful
and more dramatically angled
painting in Dresden (no. 1 7).
Preliminary sketches have been
identified in the sketchbook
the Accademia, Venice [Pignatti.
1 958], and there is a "finished"
drawing of it at Windsor Castle
follows the painting of a couple
of years earlier, in the possession
1958] Visentini included the
view in his series of engravings
The Santa Chiara Canal at
the Fondamenta della Croce
Cognacq -Jay.Paris (48.5 x 79
cm.) Constable [1962] dates it
of the Earl of Leicester (no 58) (1742, ll.pl. IV). Woburn Abbey, Duke of shortly after 1730
The subject was to be painted
again A drawing at Windsor
of Castle (no 7466) has been
related to this painting
[Parker, 1948]
B This version shows several
variations It is related to earlier
or later versions as well The
authorship is controversial and
the dating uncertain In the
in Wallace Collection, London
(58 x 92,5cm (The
companion piece to no 99 B,
in the same collection

(no. 7471) [Parker, 1948]

47X79
47*80 95 EOS 1730-31
93 EOS 1730-31
The Grand Canal from Ca'
The Grand Canal from Pesaro to the Fondaco dei
Palazzo Balbi to the Rialto Tedeschi Woburn Abbey,
Bridge Woburn Abbey, Duke Duke of Bedford's Collection
of Bedford's Collection For general information, see no
A For general information, see 84 A, above Some sketches in

no 84 A, above Thesub|ect, the sketchbook in Venice,

one of Canaletto's favourites, had Accademia, are preparatory for
already been treated in the this [Pignatti, 1958]
earlier work in the Mario Crespi 700 (Plate XXXV) 102
Collection, Milan (see no 1 3)
47x80
A preparatory sketch
Courtauld Institute,
is in

London
the
96 EOS 1730-31

[Constable, 1962] The Grand Canal from

B. A version mentioned by Palazzo Vendramin Calergi
Constable [1 962] as being the to Palazzo Fontana Woburn
possession of the executors of Abbey, Duke of Bedford's
Sir George Leon (85 x 1 39 Collection
cm.) Judging by photographs,
it

C
is of high quality
Another good version
(85 x 1 37 cm), was mentioned
For the provenance of the
painting, see no
Its
84
relationship to sketches in
the sketchbook in the
A, above
i|%«ji
i ti
in Dodsley's London Guide of Accademia, Venice, have been
101 A (Plates XXXVI XXXVII) 101B 99
 47x78.8 948], as well as sketches the 47x80 CMV. 967] Two drawings at B Another version, perhaps
100E3S 1730-31
1

sketchbook in the Accademia.

in
101 EDS* 1730-31
1

Windsor Castle (nos 7478 and slightly later, is in an Italian

The Arsenal Bridge Woburn
Abbey. Duke of Bedford's
Collection
For the history of the painting,
see no 84 A. above Related to
it are drawings at Windsor Castle
(no 7477) and the Lugt
Collection, The Hague [Parker,
Venice [Moschmi. 1954, Campo Santa Maria
Pignatti, 958: Constable.
1 1 962. Formosa Woburn Abbey,
Zampetti, CMS/. 1967] Duke of Bedford s Collection
A For general information, see
no 84 A, above This is
the finest works, not only of the
Bedford series, but of all of
Canaletto's paintings [Zampetti.
7479) [Parker, 1948] and
various sketches in
sketchbook in the Accademia.
Venice are related to it [Pignatti.
one of 1958]
B A slightly different version
(92 x 1 50,5 cm ), based on the
Windsor Castle drawings
mentioned above Of uncertain
date, but probably later than the
Woburn Abbey version
belongs to the Earl of Cadogan
Constable, 1962]
C. Another version, very close
to Visentim's engraving (1 742,
III, pi VIII) and certainly
autograph, is in an Italian private
collection [Constable, 1962],
companion piece to no 105 B,
in the same collection
private collection (45,5 x 76
the cm ) , it is very closely followed
bv the plate mentioned above in
V sentini [Constable, 1962];
companion piece to no 101 C
115.5x194c
106 ESS 1730-31* t
Regattaon the Grand Canal
It
Woburn Abbey, Duke of
Bedford's Collection
A With its companion piece,
no 1 07 A, below, this is the
largest painting in the Bedford
series (nos 84 A-107 A) Levey
[BM. 1 953] notes in the picture
the insignia of Alvise Pisani.
Doge from January 1 735 to June
1 741 and would date the work,
,

with its companion piece

(107 A), to that period
47x80
102 S3® 1730-31
Constable does not agree, and
though he believes the two
Campo Santo Stefano larger paintings were done at a
Woburn Abbey, Duke of different time, he suggests a
Bedford s Collection date not much later than 1 730-1
For general information, see no and before 1 735 The sub|ect
84 A, above Visentini engraved was depicted several times in
the scene (1742, III, pi VII). It is different periods
related to a drawing at Windsor B A fine version (116 X 186,5
Castle (no 7480) cm), close in date to no 1 06 A,

is in the National Gallery.

47x80 London [Levey, BM. 1 953] It

103 ESS 1730-31 has also been studied by Longhi

[1946]
Cannaregio Woburn Abbey.
Duke of Bedford's Collection
15 5x194f
A For general information, see
no 84 A. above A couple of
107E3£ 1730-31 \

sketches in the sketchbook in The Bucintoro Leaving the

the Accademia, Venice, were Quay on Ascension Day
used for this view [Pignatti, Woburn Abbey, Duke of
1958] Bedford's Collection
B The version (57 x 87,5 cm ) A. For general information, see
in the Bacon Collection, which no 1 06 A. above There is a
seems slightly later, is probably preparatory sketch at Windsot
autograph [Constable, 1962] Castle (no 7453)
B A version related to the
Windsor Castle drawing
104 E$ ™
79
3,
mentioned above was the
property of the trustees of
The Church of the Castle Howard, but was it

Redentore Woburn Abbey, destroyed was imported It to

Duke of Bedford's Collection England before 1 745 and
A For general information, see
perhaps |ust after 1 734 [Finberg.
no 84 above There is a
A.
WS. 1920-1]
corresponding drawing at
Windsor Castle (no. 7484)
47.5X79
Parker, 1948]
B Another version, which is
108 ESS 1730-31?

slightly different in angle of view, The Church of San Giorgio

but is close in style and date from the Harbour of St
It is in the Leggatt Collection, Mark's London, Private
London [Constable, 1962], collection
companion piece to no 08 1 The style points to a date close
to the Bedford group (nos
47*80 84 A—1 07 A) Companion piece
105 EOS 1730-31 to no 104B

The Scuola di San Rocco 86,5x138 51

Woburn Abbey, Duke of
Bedford's Collection
109ESS 1731-32 I

A For general information, see The Bucintoro Returning to

no 84 A, above It was depicted, the Quay on Ascension Day
with some variation, in plate V A Formerly in the Sampson
(III) of the 1742 edition of Gideon Collection For reasons
Visentim'salbum ot style it ran be dated close to

/ OO 106B 107A 109B

 47 5 7 7 5
112 E3^ i7 3; 3 5 Is Constable [1962] mentions
several derivations, but none of
The Grand Canal from them can be considered as
Campo San Vio Milan, certainly autograph
Private collection
A Belongs to a series of
twenty-one views purchased in 47,5x77
Venice by the last Duke of 115 E3® 1731-35

Buckingham and Chandos and The Grand Canal from

inherited by Sir Robert Grenville Campo della Carita towards
Harvey. The works were sold in Palazzo Venier della
1 957. Ten of them, including Torresella
this view, are now in a private For general information, see
collection in Milan [AC, 1 963; no. 1 1 2 A The use of optical
CMV, 1967] The location of the devices in the preparation
other pieces is not known Nine accounts for the unusual
of the views were engraved by perspective distortion
Visentini for the second, [Moschini, 1954]
enlarged edition of his album
(1 742) This view is a variation
on the Windsor Castle version of
47.2X77,51
the same subject (no 72 A),
116 E3S* 1731-35 I

engraved by Visentini in the The Grand Canal from

1 735 edition Palazzo Tiepolo to Ca'
B An autograph version, Foscari Milan, Private
slightly different, in the collection
Matarazzo Collection, Sao See no. 112 A.
Paulo (48,5 x 80,3 cm );
companion piece to no 1 32 A
46.5X77.71
[Constable.
C Another
1962].
fine version,
117 E3® 1731-35 t

formerly at Langley Park, The Grand Canal from the

Norfolk, is in a private collection Rialto Bridge to Ca' Foscari
USA in London (46,5 x 78,5cm ); For its provenance, see no
companion piece to no 132B 1 1 2 A, above This composition

D Another version in some ways was frequently repeated by

related to no 72 A at Windsor Canaletto, beginning with the
Castle, but much later It is in Windsor Castle version (no.
the Pinacoteca di Brera, Milan 69 A).
(53 x 70 cm ) Companion
piece to no 1 32 C
118 HS 47.5X77.51
1731-35 [

47.5X77
The Grand Canal from Ca' da
113 E3& 1731-35 Mosto
A.
to the Rialto Bridge
See no. 112 A.
The Santa Chiara Canal at B A very fine autograph
125 726 the Fondamenta Delia Croce
version, in the Accademia
For general information, see
the similar painting in Woburn A Another treatment of the (no 2218 AE) [Parker, 1929], Carrara, Bergamo (61 x 99 cm )

Abbey (no. 107 A) Companion subject depicted in the Dresden and derived from this painting no. 1 1 2 A A version of the
C. Certainly later but somewhat
piece to no 93 C (no. 18) and Montreal (no 22 A) establishes a terminus ante similar scene at Woburn Abbey
doubtful is the version
B A probably contemporary paintings One of a group of four quern (no. 99) See no 99, above, for
mentioned as being in the
version, in the Mario Crespi views, one of which was in the information
Wharton Collection, London
Hampden Collection (see no 47x77.5
Collection. Milan (76 x 120
cm); companion piece to 89 B) There is a preparatory
111 H<9 1731-32
(44,5 x 65,5 cm ) [Constable.
1962]
no. 93 D. drawing at Windsor Castle
(no. 7481) [Constable, 1962]
The Piazzetta with the
Libreria towards the West
114 111 G 47.5X77
1731-35

B A version that is probably Alton, Hampshire, Viscount The Grand Canal from the 47 5 77 5

slightly later (71 x 112 cm ) is
110 HS 6 6
17 31 3 2
in the National Gallery,
Washington, and was formerly
The Church of Santi in the Widener Collection A
Giovanni e Paolo and the drawing by Bellotto, dated
Scuola di San Marco 8 December 1 740. in
London. Matthiesen Property (?) LandesmuseLtn, Darmstadt
Hampden's Collection Church of Santa Croce to 119ESa® 17 31 3 5 I-
The companion piece to no 89 B
(see also no 110 A) Constable
the Church of San Geremia
For the provenance, see no.
The Grand Canal from
Palazzo Michiel dalle
[1 962] dates it shortly after 1 1 2 A A version of the similar Colonne to the Fondaco dei
1 730 The subject was depicted view at Woburn Abbey (no 98). Tedeschi
the again about ten years later it may be based on preparatory A. See no. 1 12 A, above
(no. 186) drawings used for no 98 B Doubtful but probably partly

722 123 124

101
 autograph Belongs to the Cini which there are studies in the
family. Venice (52,5 X 82 cm ) Museo Correr. Venice, and the
British Museum) for the 1 742

edition of his album (III, pi IV)

120E3S 1731-35
46,8X77.51
The Grand Canal from the
Church of San Stae to the
127E3® 1/31-35 I

Fabbriche Nuove di Rialto

Campo San Salvatore
For its provenance, see no.
Milan, Private collection
1 12 A, above The composition
A See no 12 A, above 1
recalls the engraving (no 40) in
B A fine version (47 x 78 cm.)
Carlevans' Fabbriche It was
that Constable [1 962] is inclined
included by Visentini in the 1 742
to consider contemporary or
slightly earlier It was formerly
album (III. pi III).

in the Institute of Arts,

Minneapolis, and later (1 957) 77 5
at Rosenberg and Stiebel in New 128E3® T73i 35 Is
York, but its present ownership
Campo Santi Apostoli
is unknown. Milan, Private collection
For general information, see no

121 B ® 3KZ I 1 1 2 A, above It was engraved

with some differences by

Visentini for the 1 742 album
The Grand Canal from the
(III, pi X)
Church of the Scalzi to
Cannaregio Milan, Private
collection 47.5x77.51
See no 1 1 2 A, above 129ESS 1731-35 I

Campo San Francesco della

6 5x77.51 Vigna Milan, Private collection
122 E3^ 731-35 t
A For its provenance, see no
2 A, above There is an
Campo Sant'Angelo 1 1

autograph related drawing at

For general information, see no
Windsor Castle (no 7494)
112A, above Constable [1962]
(Parker, 1948]
confirms that it is related to a
drawing in the Museo Correr,
B A variant surviving only in
three fragments and dispersed
Venice, executed by Visentini.
on the art market, has been lost
however, and not by Canaletto
from sight Constable [1 962]
This is the only time Canaletto is
has made an ideal, partial
known to have painted this
recomposition of the three
subject
sections (37,5 x 23 cm ,

19 x 14 cm; and 25 x 39 cm).

46x76.5
123E38 1731-35
47X78
Campo San Geremia
For its provenance, see no.
13053^ 1731-35

1 1 2 A, above This subject was

The Church of Santa Maria
Zobenigo
never painted again by
Canaletto It is a very fine work,
A For general information, see
no. 1 1 2 A. above Engraved by
showing a lesser known part of
Visentini for the 1 742 album
Venice
(III. pl VI)
B Another version, very close
47x78
124E3® 1731-35
in date and probably
autograph, was formerly in the
Campo dei Gesuiti Jaffe Collection and sold in

Milan, Private collection Berlin in 1 931 as a work of

For general information, see no. Bellotto It is now lost
1 1 above There was a
2 A.
drawing of a Vue de la Place des
Jesuites (probably related to
this painting) in the Mariette
131 m%"&3?m\
Collection, in whose catalogue The Church of San Nicolo
it is mentioned in 1 775 The di Castello Milan. Private
drawing has been lost since collection
For its provenance, see no.
1866 [Constable. 1962] The
view was engraved by Visentini 1 12 A, above Piece of a
in the album that appeared in
preparatory drawing, formerly in

1742 (lll.pl IX). Likenos 123 the Brass Collection. Venice,

and 1 24. this subject was also was part of the camel
only treated once by the artist reconstructed by Miotti [A V,
1 966] The view was engraved
by Visentini for the 1 742 album
.7X77, 5t
(III, pl. II). It is also important as
125E53S> i 731-35 t
a document illustrating an
Campo Santa Margherita architectural environment that
For its provenance, see no. no longer exists. The church was
1 1 above A drawing of the
2 A, demolished in 1 807 along with
same subject in the Museo neighbouring structures, to make
Correr, Venice, is the work of room for the Napoleonic
Visentini Perhaps it was gardens [Zampetti, CMV. 1967],
preparatory to an engraving that
was never executed [Constable,
1 962] No autograph variants of HOO
132 E*i
^7\48.5x80.5Eg
EH 09 @S 1730-35'
•

the painting are known

The Quay from The Harbour
of St Mark's Sao Paulo,
m, ''

126HS 46.3x77
'

IjUj 1731-35
Matarazzo Collection
A. Another treatment of one of

P5FT Campo San Polo Canaletto's favourite views, first

J For general information, see no

112 A, above
rendered in no 87 A, and
executed for the Duke of Norfolk
A Engraved by Visentini (for (no 87 D) The style is of the
102 737 138 (Plate XL I II)
 period of the Bedford version cm), fairly close to it and almost
It is the companion piece of certainly autograph, belongs to
no. 112 B. the Stewart Property, New
B. A fine version, formerly at York [Constable, 1962]
Langley Park, Norfolk, was C Another, wider view, of
purchased by George Proctor doubtful authorship, is in the
with its companion piece (no Cincinnati Art Museum
1 1 2 C) during a trip to Italy The
(57 x 95.5cm).
D A third, from a different
date of the trip is not known
angle, in the Schwerin
[Constable, 1962] Proctor
Staatliche Museum (71.5X
acquired Langley Park in 1 742,
110,5cm). Constable, perhaps
where the two paintings too severely, attributes it to the
remained until 1 946 at least workshop.
This view is now in a private E Still another version,
collection, London (47 x 78,5 probably later but very possibly
cm). by Canaletto, is in the Ca'
C. Another version, the Rezzonico Museum, Venice
companion piece of no 11 2 D,
(51 x 71 cm.) Companion
is in the Brera, Milan (53,5 x 71 piece to no 135 A
cm.) Probably a bit later than
no 1 32 A Constable [1 962]
relates to a drawing Windsor
it

Castle (no 7451 ). which also

at
loO H3 v9 1732-33"' E3 I
shows the Bucintoro and which The Entrance to the Grand
was used for various versions Canal with the Customs
House and the Church of the
Salute Venice, Ca' Rezzonico
134 5 2 3 3 5
133E3® 17 32 3 3 I.-
'

A Companion piece to no
134 E (q v and for its
.

St Mark's Square towards attribution)

the Libreria between the B A very controversial variant,
Basilica and the Church of is in the Ashmolean Museum,
San Geminiano Hamstead Oxford (52 x 94 cm).
Marshall, Berkshire, Craven
Collection
A Constable's [1962] date of
shortly after 1 730 for this
136ES 68, 5X93, 5[
1733-35 t

St Mark's Square from the

painting may perhaps be fined
Basilica towards the Church
down to about 1 732-3 because
of San Geminiano and the
of similarities to the Bedford
Procuratie Nuove Rome,
paintings (nos 84 A-107 A),
Gallena Nazionale
and also to the Grenville Harvey
A. Forms a group with three
series (nos 1 12 A ff ) A variant
others (nos 1 37-9) formerly
drawing is at Windsor Castle 146 (Plate LIV)
ascribed to Bellotto [Fritzsche, 745
(no. 7422) [Parker, 1948]
1 936] and now generally
Companion piece to no 1 34 A
B. A version (57.5 x c 84 cm.)
attributed to Canaletto
Zampetti's [CMV. 1 967] date of
For general information, see no
1 36 A It is an earlier version of 139E3S 68.5x91,5f
1733-35 [ 141 S3 S 114,2X153.5
"1735 - Si
similar in style to the views in the no 242 (dated 1744) The Piazzetta towards the St Mark's Basilica and the
shortly after the Bedford group
Gallena Nazionale, Rome (no South Rome, Galleria Doge's Palace from the
(nos 84 A-1 07 A) seems
1 36 A) [Constable, 1 962], is in Procuratie Vecchie
convincing. This is a variation Nazionale
the Samuel Collection, London
on no 85 A A For its provenance, see no. Washington, National Gallery
(see also no 1 36, below)
B A controversial version in the 1 36 A, above One of Canaletto's Bears the initials "A.C.F."

135. 5x232, 5f
Wallace Collection, London
(58 x 125 cm The present 138 H$ 58
1733-35
favourite subjects, it was also Formerly the possession of the
Howard family, who probably
134H® 1732-33 E
)

writer considers it autograph

date seems close to the
The Grand Canal from the
depicted
painting (no 48)
in the Windsor Castle
purchased it about 1 734-5
The Grand Canal with the
Its Rialto Bridge towards Ca' B A variant (52,5 x 71 cm ) in [Fmberg, WS. 1 920-1
Corsini group (nos 1 36 A- Foscari Rome, Galleria the Speelman Collection, Constable, BM. 1 929] Its style
Church of the Salute and the
139 A) Nazionale London May be would also suggest a date of
Customs House from Campo slightly earlier
Santa Maria Zobenigo For general information, see no. [Constable, 1962] about 1 735 Related drawings
68.5X92
Hamstead Marshall,
Craven Collection
Berkshire,
137E3$ 1733-35
1 36 A, above.
already treated
It repeats a subject
Windsor Castle
at
C. Another beautiful version,
with a narrower view. It dates
have been identified at Windsor
Castle (no. 7428) [Parker, 1 948]
A. Companion piece of no. The Grand Canal with the (no. 69 A) and (no. 69 B) in the from about 1 735 Formerly in the and in the camel formerly in the
133A(q.v). Rialto Bridge from the South Houston Museum of Fine Arts Liechtenstein Collection, it is Brass Collection, Venice
B Another version (72 x 96,5 Rome, Gallena Nazionale [Zampetti, CMV. 1967]. now in the John Herron Art [Miotti, 1966] Companion
Museum, Indianapolis (55 x 73 piece to no 1 42 A
cm.) [Constable. 1964],

53x70.5
140 E3® •1735

St Mark's Square towards

the Torre dell'Orologio
Kansas City, William Rockhill
142 H®
The Entrance to the Grand
11
^ ^: 53

Nelson Gallery of Art Canal from the End of the

A The view was engraved by Quay Washington, National
Fletcher and published by Gallery
Baudin in 1 739, which gives a A Companion piece to no. 141,
terminus dating (For the
for the bearing the initials "A.C.F."
problem of the engravings, see B A fine version, executed
Watson [BM, 1955].) The about the same time or slightly
picture was in England when it earlier, in Windsor Castle (46 x

was reproduced and the Gai 77.5 cm) George III bought it

gates, in the Loggetta. which were from Smith The subject had
made between 1 735 and 1 737, been painted before (nos 44 A
are not shown, so one may and 44 B) It may be related to
assume that the view was the Boitard engraving published
painted some years earlier, by Baudin in London in 1 736
according to Morassi [BM, Likewise, a drawing in the
1 955] Constable did not agree Ashmolean Museum, Oxford
[1962], and would date it [Parker. 1948], maybe
simply to 1730-40 [1964]. It is connected with this painting
a companion piece to no 88 B C Another version, of doubtful
B A fine version, which was in authorship, which Constable
the Bergstens Collection, ascribes to the workshop In the
Stockholm (57 x 48 cm.) Wallace Collection, London
[Constable. 1962] (47,5 x 78 cm )

140 A 141 103

 '

i *u hjil t^tfi^
148 A 150 A 151

155 A 757A 159

110, 5x185. 5f
143E3$ 1735"
The Riva degli Schiavoni
towards the East Rome,
Albertini Collection
A A superb treatment of the
subject, one he painted often,
published by Modighani [D.
1924 5] It has been recently
restored, and was shown to be
of extraordinarily high quality
the Venice exhibition of view
painters (1967) Zampetti
London. National Gallery Windsor Castle version (no residence otWilliam Holbech at National Gallery
t This shows the annual visit of 235), which is dated 1744, Farnborough Hall (Warwickshire), A For general information, see
the Doge, accompanied by either But the earlier dating is where the pictures remained no. 1 49. above The clock tower
members of the Senate, the also supported by stylistic until 1 930. when they were sold isshown without the alteiations
government and the diplomatic evidence [Constable. 1 962] Holbech was made about 1 755 A possible
Church of San
corps, to the B Another version, close in in Italy about 1 730 and had date is 1 735-7 [Constable,
Rocco. on the occasion of the date, belonged (1939) eturned to England by about 1 962] (see no. 1 49) A related
Saint's feast (16 August), in [Constable, 1962] to D I 745 Hence the paintings must "finished'' drawing is at Windsor
accordance with the vow made Tziracopoulo. Berlin (127 x 148 have been done in that period Castle (no 7425) [Parker,
during the plague of 1 575- 6 cm ) The fact that the Loggetta gates 1948] Partial preparatory
at The dating is highly (erected in 1 735-7) are not drawings are in the
controversial
earlier than 1
It

743,
is certainly
when the
149E®-i 73^7 Is 2 5
shown suggests an earlier date,
which would be confirmed by
Kupferstichkabmett, Berlin, and
elsewhere [Hadeln. BM. 1 926.
St Mark's Square from the
[CMV. 1 967] correctly dates it image of the Saint, sculpted by the style of the painting and 1930]
Libreria to the Loggetta
not long after730 The
1 Marchion. was set up over the Constable [1 964] has dated the B This view (20 x 41 cm.) is
Zurich ?, Property of Brown,
prototype may be no 59. and it door (Zanetti, Memone) works c 1 735 from a different angle, it is
Boven and Co.
was treated again (no 1 56) Watson [AV, 1955] and painted after the Windsor Castle
This, together with the following 132x165
Companion piece to no 144 A
B This version, almost certainly
Moschini [1 954] tend to dare it
before1 735 and after 1 730
three paintings (nos 150-2). 150E3N •1735-37
drawing, in the Neave Collection.
Astramont (Wexford)
autograph, is in the Railing Levey [1956], noting that the
formed a group painted to St Mark's Square with the
decorate the dining room of the Torre dell'Orologio Ottawa.
Collection. London (47,5 x 77,5 Doge is Alvise Pisani. elected
cm). It is also close in date 1 5 January 1 735, dates it more
Companion piece to no 1 44 C convincingly to about 1 735, and
thistheory has also been
accepted by Moschini [AV.
144HN 110.5x185.5f
1735" t 1962]

The Quay with the Libreria

and the San Teodoro 4C7\53.5X70,5[
Column towards the west 147 1735-

Rome. Albertini Collection The Rialto Bridge from the

A Companion piece to no South Hamstead Marshall,
143 A, above, and also published Berkshire, Craven Collection
by Modighani [O, 1924-5) A Derived from the Bedford
B A fine version (62.5 x 101,5 painting (no 94 A), or rather,
cm ) in its atmospheric colour
from the related drawings
[Constable, 1962], almost Constable [1962] supposes 1 52 A 152B
contemporary It is in the Jenks there was some slight
Collection. Astbury Hall. collaboration, perhaps that of
Shropshire Bellotto
C Another version, very B A version, whose interest is

probably autograph, in the chiefly documentary because of

Railing Collection, London the depiction of Giorgione's and
(46,3 x 76,3 cm); companion Titian's frescoes on the Fondaco
Dieceto no 143 B dei Tedeschi In the Hoogendijk
Collection, Amsterdam
(88 x 144.5 cm )
44.5x75
145 ess •1735 - C Another version, probably
autograph (albeit with the same
The Loggetta of Sansovino problem as no. 147 A) In the
Birmingham. Barber Institute of Stuart Collection, London
Fine Arts (77.5 x 118cm )
Datable, because of the state of
the Loggetta. to before 735-7
148 H®
1
60,5X1001
Since the Loggetta is depicted in "1735-37 I

isolation, it is an "ideal" rather

than a real view, even though St Mark's Square from the
the monument is painted with Piazzetta towards the
rigorous attention to its real
Procuratie Vecchie Milan,
features Borletti Collection
A The dating is affected by the
absence in it of the gates set up

146 fSS •1735 -

by Gai in 1735-7
Sansovino Loggetta [Arslan,
in the

The Doge Visiting the -48,1948] However, these

Church of San Rocco gates are not shown in the
104 161 A (Plates XXXIII-XXXIV) 161B
 132x165 75.5x1061
151 H6> •1735-37 154E2S 1735-40 I

The Entrance to the Grand The Quay with the Libreria

Canal with the Church of towards the West Milton
the Salute London ("), Property Park. Peterborough, T W
of Arthur Tooth Fitzwilliam Collection
See no 149, above. See no 1 53, above.

75 x 106

32x165
155E3S 1735-40

152E3S* 1735-37 St Mark's Square towards

the Basilica Milton Park,
The Harbour of St Mark's Peterborough, T W 168 169
from the Piazzetta London (?). Fitzwilliam Collection
Property of Arthur Tooth A See no. 1above
53,
A. See no 149, above B This version the Speelman
in

B A smaller version (46 x 75 Collection, London (49 x 73

cm), but with a wider and more cm) may be contemporary, but h
distant view It belongs to the incomposition it is related to the
Knoedler Property. New York Bedford and Barlow versions
(nos. 84 A and 84 B)
Constable [1 962] considers it to
be contemporary with the Bedford -wIS
pictures (nos 84 A-107 A). 73.5X 104.51
156 ESS 1735-40 I Jw$jto**J1
^
Eij' ijM 1]

l 4JLjt |
fr - tTli\ fijijastiS
The Riva degli Schiavoni
75X104
towards the East Milton Park. ff^ft i ijl
153E3S 1735-40
Peterborough, T W
Fitzwilliam Collection
170 A 17 OB
The Grand Canal with the See no 1 53, above.
Rialto Bridge from the North
Milton Park, Peterborough,
T W Fitzwilliam Collection
Collection
A much discussed version of the 163E3$ i735-4$I: 1

Milton Park, Peterborough,

T W
Fitzwilliam Collection 157H® 73 8 -

1735-40 See no 1 53, above subject, larger but similar in

composition to no 73, above, at
The Harbour of St Mark's
towards the East London,
A This is one of a group of
St Mark's Square from the Windsor Castle However, for Wallace Collection
eight pictures, all contemporary 73, 7X104,
(nos. 154-9 and 161 B),that
Basilica towards the Church
of San Geminiano Milton
159E38 1735-40
5{
I
stylistic
later in
reasons,
date
it

Companion piece
is certainly The flattened form of the top of
the Campanile of San Giorgio
have long been the property of
the Fitzwilliam family External
Park, Peterborough, T. W St Mark's Square towards to no. 1 53 B [Browning, AJ. provides a chronological limit
Fitzwilliam Collection the Procuratie Nuove with a 1905] However, exact dating is
evidence (the Church of the
A See no 1 53, above View of the Church of San difficult The use of optical
Pieta is shown as it was before
B A contemporary version in Geminiano Milton Park, devices in preparing the
the 745 remodelling) makes the
1

group earlier than 1 745 in date.

the Detroit Institute of Arts Peterborough, T W architectural background
All these works, in fact, seem to
date to about or shortly after
(76 x 114,5 cm);
companion piece
it

to
is

no
a
1 65 A
Fitzwilliam Collection
See no 153, above 161 ES® IS [Watson, 1 949] suggests a date
before 1 730, but the style seems
later Zampetti [CMV, 1 967]
1 735 There is an earlier version
75X106 The Harbour of St Mark s
of the
B
same subject (no
A version
Collection, Geneva,
in the Lyon
74).

companion
158 E3S
The Harbour of St Mark's
1735-40
160 H®'^ I!
The Entrance to the Grand
towards the East Boston,
Museum
A.
of Fine Arts
This is one of Canaletto s
suggests a date about the period
of the
Some
Boston view (no 161)
reserves have been
expressed concerning the
piece to no 1 60, is autograph or from the Riva degli Canal with the Church of the masterpieces [Constable,
authorship Constable [1 962]
largely autograph Schiavoni towards the West Salute Geneva, Lyon BMFA. 1 939], generally dated
suggests that assistants might
to the 1730s [Pallucchini.
have been used, though there is
1960] The exhibition of view
no evidence in the picture itself
painters however confirmed
[Zampetti. CMV, 1967] the
date of Constable [1 964], who
tended to set it earlier in the
decade
B An autograph version 164 E3 ® 1735-40? B
(75,5 x 105,5 cm.) with The Harbour of St Mark's
variations The point of view is
from the Riva degli
further back in the Giudecca
Schiavoni Companion piece
Canal and the scene is narrower
to no 1 63 (q.v).
It is in the Fitzwilliam Collection
and is pari of that group (see
nos. 153 A and ff ), and so is

probably contemporary
£T\ 76X114,51
165
I

I VT 1 735-40 "> I

St Mark's Square towards

66
162E23®i 7 3^Is the Basilica Cambridge,
Massachusetts, Fogg Art
The Fonteghetto della Museum
Farina Venice. Giustiniani A Companion piece to no.
Collection 57 B A very fine view with
1

A. One of the most unusual of notable width; seen from above

Canaletto's works. He only B This version is probably very
painted this subject in one other close in date and style; it varies
painting and some drawings only slightly in the viewpoint. It
(Windsor Castle, nos 7462, belonged in 1 939 to D
7463, 7464 and 7465), none of Tziracopoulo. Berlin [Constable.
which are directly related to this 1962]
one [Parker, 1 948] The dating
above has been convincingly
argued by Pallucchini [in CMV.
1967]
B.
is in
This slightly different version
the Museum of Fine Arts,
166H$?&£7 Ii 9

Boston (37 x 51 cm). Campo Santo Stefanin

According to Constable [1 962], Penrhyn Castle. Wales, Douglas-
it might be slightly earlier than Pennant Collection
the Giustiniani version, but the Sometimes attributed to Bellotto
present author sees little to belongs to the period when
It

suggests that it is much different Canaletto painted lesser-known

in date views of Venice
165A (Plate XLVI) 165B 105
 A

1670®^!: fine version at Windsor Castle

(no 68 A) The insignia of
1700® 1738-40
171)- which provenance tends
to confirm its authenticity.
statue
Companion
in front of

piece of no 177 A
B. This version in the Buhrle
San Geremia

The Bucintoro Leaving the Alvise Pisani appear on the The Grand Canal from the
Collection. Zurich (120,5 x 151
Quay on Ascension Day
London, National Gallery
Levey (1956) dates this work to
structure set up
Foscan, on the
BM. 1953)
in front of

left [Levey,
Ca' Church of the Scalzi towards
the Fondamenta della
Croce with the Church of
1710®^!°
The Entrance to the Grand
cm.), seems close in date Its
is guaranteed by its
authenticity

1 735-41 because of the San Simeone Piccolo provenance from the Duke of
,

appearance of the insignia of

Alvise Pisani. who was Doge at
169H®
Grand
The
^94.5
9

Canal from the

<145.5F
1738
-
London, National
A
Gallery,
Variation of a subject painted
Canal with the Customs
House London, the late Sir
Buccleuchs Collection (see no
1 71 ) Hence it is datable
Alexander Korda Collection
that time He gives the same Church of San Simeone in 729 and engraved by
1
certainly to after 1 738 and
Constable [1962] re-examined before 1742
date to its companion piece, Piccolo to Cannaregio Visentini (see no 77) The style
the documentary sources, which
no. 168 London, Wallace Collection of the work and the presence of
confirm that Canaletto painted
A much discussed work, recently the staircase of San Simeone

1680® 121 *183

1735-41
Regatta on the Grand Canal
London, National Gallery
Companion piece to no 1 67
(q v ) The subject was often
treated by Canaletto There is an
attributed by Constable [1 962]
entirely to the school It is more
likely to be by Canaletto because
of the high quality of the work,
though he may have had some
help from assistants It dates
from after 1 738. when the
suggest a dating after 1 738
six views for the Buccleuchs,
obviously at the same period
1770®,' 46,5X77
738-42
[Levey, 1956], though perhaps
There is external as well as The Church of San Pietro di
not by much stylistic evidence for fixing this Castello London, National
B This version presents some period as 1 738 42 The works Gallery
doubts about authorship It is in were in the possession of the A. Companion piece to no.
a private collection in Turin
Buccleuchs at Dalkeith Palace 176 A. Levey [1956] attributes
(1 20,3 x 1 25,5 cm), and was to the workshop, while
until they were sold about it

National
earlier version in the staircase of San Simeone was formerly the property of the Constable [1962] sees
fifteen years ago
Gallery (no 106 B), and another completed Duke of Buccleuch (see no Canaletto's hand in its
execution A drawing at Windsor

1720® 120.5x1511
1738-42 t
Castle (no 7485)
related
seems to be

The Grand Canal from the B This version in the Lindsay-

Rialto Bridge to Ca' Foscari
Zurich. Buhrle Collection
Formerly the property of the
Buccleuch family (see no 171.
above)
Fynn Collection, London
(67,3 x 1 1 3,5 cm), is even
harder to consider autograph
even in part Its date is uncertain

1730® 121X151
1738-42
1780® 60X94
•1740

The Grand Canal from Ca'

The Entrance to the Grand
Canal with the Church of the
Salute towards the East
Zurich, Buhrle Collection
Formerly in the Buccleuch
Collection (see no 171) The
slightly earlier version (no 160)
in the Lyon Collection, Geneva,
is an almost exact replica
1740® 120.5
1738-42
x157f
The Bucintoro at the Quay
on Ascension Day Turin,
Private collection
A Formerly in the Buccleuch
Collection (see no 171)
treatment of one of Canaletto's
favourite subjects
B A copy, with slight variations,
perhaps contemporary It
Pesaro to the Church of San
Marcuola Chilbolton.
Hampshire. Parnngton
Collection
An inscription on the back reads
"painted for Henry Duke of ..."
The missing word is most likely
"Kent" Since Henry Grey was
Duke of Kent from 1710 until his
death in 1 740. a terminus post
quern of 1 740 is reasonable
E Stylistic considerations suggest
that it was not painted much
before that year It was engraved
in Visentini's 1 742 album (II.
pi VI) Companion piece to
no 179
A fine
1790® 60x94
•1740

The Grand Canal from

belongs to the Earl of Leicester, Campo Santa Sofia to the
Holkham Hall (106.5 x 106,5 Church of San Marcuola
cm.), and was documented as Companion piece to no 1 78
being in England in the In 1 939 it belonged to the
possession of the same family Matthiesen Collection, London
in 1773 [Constable, 1962] [Constable, 1962]

1750® 120.5X1511
1738-42 I
180 0® 6, X 08
;,7 4o
Is
Regatta on the Grand Canal The Quay and the Doge's
Great Britain. Private collection Palace towards the West
Formerly in the Buccleuch London, Lord Lucas and
Collection (see no. 171) Dingwall Collection
Another treatment of a subject A This was painted for Henry
already depicted in the Bedford Grey, Duke of Kent and second
Collection (no 1 06 A) and the Baron Lucas, and kept by his
National Gallery (no 168) As descendants Since Kent died in
in these, the insignia on the 1 740 (see no 1 78), we have a

structure erected in front of Ca' terminus post quern It is also

Foscari are those of Doge Pisani likely that this picture, a

(1735-41) variation of one of Canaletto's

was not
favourite subjects,

47X75 painted much before 1 740

176E® , 738-42 B This version (179 x 265,5
cm), formerly the property of
The Entrance to Cannaregio Duke
the of Newcastle,
with the Church of San appeared on the market after
Geremia London, National 1948
Gallery
Constable [1962] mentions
A A rather controversial work,
several other, non-autograph
sometimes attributed to the
versions.
workshop [Levey, 1956.
Constable, 1962], though
Canaletto may well have had
hand in the execution The
a
1810® 50,5x81
•1740"

dating is established by the The Piazzetta with a View of

absence of the balustrade and the Doge's Palace and the
106 186 188
 decade later (Constable [1 964]
dates it ca 1735 )
B Another version, in the
Soane Museum. London
(53.5 x 110,5 cm ) It is perhaps
by Canaletto, although
Constable ascribes it to the
school [1962] Companion
piece to no 1 91 A

5X110,51
191H® 5
i 740-45? t

The Rialto Bridge from the

North London, Sir John
Soane's Museum
A. Companion piece to no.
1 90 B The fairly consistent
quality suggests it is by

Canaletto, but has been it

rejected by Constable [1 962]

and others
B This version in the
Rijksmuseum, Amsterdam
(60 x 80 cm ), among
numerous versions generally
not by Canaletto, might be
autograph

1920S 72.5x85.5f
'740-46'' t

St Mark's Harbour towards

the West London, Embiricos
Collection
There is a drawing, which was
perhaps used for no 341 A as
well, related to this view, at
Windsor Castle (no. 7454)
[Parker, 1948] Some sketches
in the sketchbook in the
Accademia, Venice, were also
used for it Despite Constable's
198 799 200 rejection [1 962], the work
seems to be totally autograph
cm) and
Loggetta Allentown,
Pennsylvania. Art Museum
(56 x 73,5
mentioned by Constable
is

[1 962]
Canaletto, thougn
it to Bellotto
some ascribe
189HS 29,2X38
1740-45

(Kress Collection) Customs House Point 46x78

Although rejected by Constable
962], this painting is generally 186 S3®
•61
1740"
X9f
187EDS 61x100.5
1740'
1
London, Private collection 193E3S 1741
*

[1 A. Companion piece to no 188

and justly considered autograph
The style and quality suggest the
period about 740
1
99
182H6>
The Campo dell'Arsenale
London, Sabin Collection
Related to the view in the
Campo
Santi Giovanni e
The Piazzetta with the The Basilica of St Mark's B A similar view, from the Paolo with the Colleoni
Libreria of St Mark's and the Doge's Palace from harbour of St Mark's, and perhaps
Monument Windsor Castle,
towards the West Artramont, the Procuratie Vecchie belonging to the same period Royal Collections
Wexford, Neave Collection Bloomfield Hills, Michigan, It is the property of an English
129.5 A This very beautiful view,
M740 - ? A A very beautiful version of
The dating has been
Booth Collection
A variant of the subject of no
collector (28 x
Constable
21,5cm.) As once the property of Consul
no. 111 [1 962] acutely Joseph Smith, was reproduced
rightly confirmed by Constable 1 41 At least five years later noted, it was probably part of in the 1 742 edition of Visentini's
[1962] a larger composition.
engravings (III, pi 1 ) and should

188 H$
Ottawa National Gallery (no B Another version of no 1 1 1 29x38
date, then, from shortly before
but close in time to no 1 86 A. 740-45
358), recently reattributed to that year Similarities of style to
was in the Watney Collection, The Piazzetta towards the
Bellotto [Pignatti,
This one, however,
AV, 1966]
is stylistically London (23 x 40 cm); Quay London, Private
190536* 1740-45 other works of that period
1742 a likely date Levey [1964],
make

very different Perhaps Bellotto's companion piece to no 185 A collection St Mark's Square with View however, dates it between 739 1

was painted after this view. C Another version of the same A lovely small picture with warm of the Basilica and the and 1 740 Canaletto used four
period, formerly ,n the colours,which seems to have North-east Side Hartford,
sketches in the sketchbook in

183 B® -^ 5 5
1:
Eigenberger Collection. Vienna
(58,5 x 66 cm.) It has been
been painted before the
departure for England
Conn Wadsworth Atheneum
A.
,

Variation of the theme of

St Mark's Square with View
of the Basilica and the Doge's
Palace, the Loggetta and
the Campanile Bloomfield
Hills, Michigan. Museum of
Cranbrook Academy
The date is that given
Constable [1964]
the Accademia, Venice, for this
painting [Pignatti, 1958].
attributed on solid grounds to Companion piece to no 1 89 A no 1 33 A and executed about a B This version (73,5 x 80 cm),
which also differs from
Visentini's engraving, has been
mentioned by Constable [1 962]
as being in the Norton Gallery,
of Art
Palm Beach. Florida, and a work
by of the school But Canaletto
might have taken some part in

184 H®
•20X40" its execution
-
1740
The Doge's Palace. Facade
Artramont, Wexford, Neave
Collection
A view of the palace, similar in
194HS 58.5X109
1741-42

195 A
View of Mestre Canada.
its unusual composition and 194
Sangster Collection
quality to no 186 A The composition is very close
23/40 go to theautograph etching
185H<S> 1740" E3 5 published in the 1 744 album
St Mark's Square from the [Pallucchini and Guarnati, 1 944.
Basilica towards the Church no 5] and to a drawing at
of San Geminiano Windsor Castle (no 7490)
A. A version of the same subject [Parker. 1948]

as no 57 A Companion piece
1
B Another version (30.5 x 44.5
to no
1 86 B The dating given cm), which was in the Norbury
is Constable's [1962]
Collection, Malvern, until 1 939
B. This version appeared on [Constable. 1962], companion
the London market in 1 956 piece to no 1 95 B
202A ioy
 211 212 213

..

L r 1 1

IllMM,

214 275 216

convincing Companion piece X68.5 61X95 Sandwich

195E3$i";-«!s to no 197 199E3S 51
1741-44? 201 E38 •1742-9
to the Earl of
(62 x 98 cm )

ViewofDolo Venice. Brass The Venetian Lagoon with Ruins of the Roman Forum
an Arch and a Church a with the Capitol in the 18 x 04
Collection
A Fairly similar to the autograph Capriccio London, (
? ).
:

Background Windsor Castle, 2O3E3® ?7 42 S:

etching published in 1 744 Hall Collection Royal Collections Ruins of the Roman Forum
[Pallucchini and Guarnati, 1 944. The seated figure on the left is A This is related to a youthful with the Capitol in the
no and to a drawing in the
4] similar to one in an etching by drawing in the Roman series at Background Windsor Castle,
Victoria and Albert Museum
An Island of the Venetian Canaletto [Pallucchini and the British Museum (no 4 in Royal Collections
[Hadeln. 1930]
Lagoon and a Church: a
Guarnati. 1 944. no 1 3b] This Constable's list[1962]). but it This is one of five paintings
B Another version (30,5 x 44.5
Capriccio Leipzig, Museum might suggest a date more likely that the painting
|ust after is
(nos 203-7) of Roman subiects
der bildenden Kunste was done in the 740s
cm.), in the Norbury Collection. 1 740, which is also indicated by 1
signed and dated 1 742 (this
Malvern; companion piece to
Companion piece to no 1 96 The door structure Companion piece to no 202 A
style one reads: "ANT CANAL
no 194B suggests that of San Giovanni B A good version, with FECIT ANNO MCCXLII" [sic]),
in Padua We know that this

^
variations In the National all from the Joseph Smith

imaginary view was purchased, Gallery of Victoria. Melbourne Collection The subjects have

196H®
An
3
^I:
Island of the Venetian
198E3$ 3 5
I- with its companion piece (no
200), by Lord Boston during a
stay in Italy, though the date of
(82,5 x 145cm.) led some scholars to suppose
that Canaletto visited
742
Rome in

The Marghera Tower 1 or a little earlier Pallucchini

202 H6
Lagoon and Motifs from the known 61x95
Formerly in Berlin, in the his visit is not
•1742 - [1 960] notes the advances
Church of San Francesco Tziracopoulo Collection, and made in these works when

della Vigna: a Capriccio lost since 1 939 Fairly close to The Temple of Antoninus compared with his youthful
X68.5
Leipzig. Museum der bildenden 51
and Faustina in Rome
Kunste
the autograph etching of the
same subject [Pallucchini and
200 E3® 1741-44 ?
I

Windsor Castle. Royal

Fairly close in style to the
datable on the basis of
ofautograph etchings, published
in1744 [Constable, 1962]
Fritzsches attribution [1936] to
Bellotto, which was accepted by
the museum, does not seem
108
versions of the same subjects,
which were so deeply influenced
works Guarnati, 1944, no 8] Probably The Venetian Lagoon with a Collections by Ricci, and rightly says "The
the album basedon drawing also used
a Church and a Column: a A Companion piece to no. mise en scene tends to
for the etching The style of the Capriccio London, (
7
). 201 A, hence its dating Related emphasise the monuments, as
work suggests a dating slightly Hall Collection to one of the youthful drawings elements of the pictorial
before that of the views and Companion piece of no 199 in the British Museum (no 5 in narration also, with a bright and
capricci dated between 1 743 The church may be modelled Constable's list [1962]) warm light, a light recaptured
and. 1744 after San Simeone Piccolo B Autograph version belonging in his studio from a precise
 Canalettos authorship is Collection
confirmed by the unmistakable This work, with its companion
work and its
quality of the piece (no 21 5), has been
provenance (the painting was in attributed to Bellotto, with some
the Lovelace family in the plausibility But its long presence
eighteenth century), as well as in theNeave family and the way
its connection with an autograph in which figures and
drawing at Windsor Castle (no architecture are treated
751 7) [Parker, 1 948] and one of [Constable, 1962] lead one to
the British Museum drawings prefer an attribution to Canalettc
(no 22) used by Brustolon until other evidence is presented

217A 217B

*£**4Li
212 E® 82X122
1742-45 is
215
I
^7\ 39,5 x 68,5 \
VJF 742-45 I
1
">

The Arch of Constantine with I

.^m. ~_ •..-•#*-«- ^ the Colosseum London,

Piazza Navona, Rome
Martin Collection
Artramont. Wexford, Neave
, . ' *
j»
'
mm am
A Signed "ANT"
FB"
CANALETO
This rather arbitary view is
Collection
Companion piece to no 214
Roman
..,.!• .•!«|«| i

j UUi&IHIJljra m
stylistically related to the
subjects, after Canalettos

\x mmmmim*mhi 2 »H
presumed second visit to Rome
\\ i (c 1742).
216 H®™-^ I:
rrrrrrrrrrrf^ 1
-^| *> ;
.

213B® *£SI: The Colosseum Rome,

, 1 Gallena Borghese
The Arch of Septimius It is usually ascribed to Bellotto

Severus and the Church of [A, 1 91 3; Fritzsche, 1 936; etc.],

275 Santi Martina e Luca. Rome together with its companion
sensation recorded by a careful by Canaletto [whose] sweet
. . . B Another version, sometimes Cincinnati, Ohio, Art Museum piece (no 21 7 B) This
visual sensitivity and recreated atmosphere, almost overflowing ascribed to Bellotto but painted Although closely related to a ascription is supported by the
by the artist's imagination . with the languor and melancholy by Canaletto, is in the Museo drawing (no 3 in Constable's existence of a drawing by
It is at this time that Pannini of autumn sunsets gives ... a Poldi Pezzoh. Milan (39 x 88 [1 962] listing of early drawings;
Bellotto (Rome, Gabinetto
interested Canaletto and not new, highly poetic intimacy" cm.) London, British Museum) Nazionale delle Stampe) of the
earlier It is possible that the [Pallucchini. 1 960] ) : two at C. Another autograph version, executed in Rome, the painting work But the view is also related
modulated and slightly muddy Windsor Castle (nos 7497 and but very cold, is in the itself was undoubtedly done to a drawing of Canalettos

colours of the artist from Piacenza 7498), one in the Pierpont Fnedenburg Collection, Venice when he turned a second time Roman series (British Museum)
made Canalettos palette take on Morgan Library, New York, and (38 x 89 cm.) [Constable, to Roman subjects, shortly after that was used by Brustolon
a denser, more vibrant and one in the Fogg Art Museum, 19621 1742 [Constable, 1964] (Constable's [1962] no 15)
atmospheric quality". Cambridge (Mass.) This last Hence the question of
61 X96.5
drawing, signed 1 742 by
Canaletto, allows one to date the
211 E3® 1742-45
I

214B®T 5X
1742-45?
7
attribution remains
Constable [1962] is also
open

181.5X103 John Lateran Square,

204E3S 1742 1: painting It is fairly similar to one
of the autograph etchings
St
Rome London, Clifford Curzon The Quirinal Palace, Rome
uncertain of the authorship,
though he had ascribed it to
The Arch of Constantine Collection Artramont, Wexford, Neave Bellotto.
published in 1 744 [Pallucchini
Windsor Castle, Royal and Guarnati, 1 944, no. 9].
Collections Constable [1964] however,
The inscription reads "ANT thinks it precedes Canalettos
CANAL FECIT ANNO departure from Venice
MDCCXLir (see no. 203,
above) The picture is related to 59,7 x 106.7C
a drawing in the Petit Palais, 209E3® 1742 E
Paris, which bears an autograph
note and also to a sheet of the The Brenta at the Portello of

youthful series in the British

Padua
A. Pallucchini connected this
Museum (no 2 in Constable's
splendid work ("with a serenity
list [1962])
worthy of Corot" [1960])
with no. 208 Formerly some
04
2O5E3$ 7
?742 S: scholars had attributed
Bellotto Its owner, F. Madan,F
it to

The Arch of Septimius London, put it on the American

Severus Windsor Castle, market, and in 1 955 it was in the

Royal Collections possession of D Koetser, New

Signed and dated "ANT- York [Constable, 1 962] It is
CANAL FECIT ANNO related to a drawing in the
MDCCXLir (see no 203, above) Albertina, Vienna (no. 1 876)
B. A freer version (61,5 x 106,5
cm), of doubtful authorship,
19 04
2O6ES3^ ?7« i: which belongs to the Dunkels
Collection. Sussex.
The Arch of Titus Windsor
Castle, Royal Collections 40X87,5
210 E3S
I

The inscription reads: "ANT 1742" I

CANAL FECIT I ANNO

MDCCXLII" (see no 203 above) Prato della Valle, Padua,
with the Churches of Santa
Giustina and the
179X106,5 Misericordia London, Lord
207E3S* 1742 I: Brownlow Collection
The Pantheon Windsor Castle, A. This dated on the basis of
is

Royal Collections similarities of style with the two

Theinscription reads: "ANT preceding works, above; and it

CANAL FECIT I ANNO was used for two etchings in
MDCCXLII" (see no. 203, above) Canalettos 1 744 album
[Pallucchini and Guarnati, 1 944.
nos 6-7] This may be the

208 S3 $ 49.5X83
1742
I

I
painting which
inan undated letter John
was mentioned

View of the Brenta near Padua Strange wrote to Sasso,

London, Private collection published by Mauroner [AV,
There are four drawings related 1 964] The painting is also
to the painting ("one of the most important as a document of the
inspired and moving landscapes city of Padua
223 224 iog
 "

217E3® 150X109 1742-45">

The Roman Forum with the

Basilica of Constantine and
the Church of Santa
Francesca Romana Milan,
Campanini Bonomi Collection
A Probably based on the
drawing (Constable's [1962]
no 6; British Museum) used by
Brustolon. and related, too, to a
drawing at Windsor Castle (no.
7522) [Parker. 1948] According
to Morassi [AV. 1 950], it can be

dated before 1745

B A variant (26 x 35cm ), in statues on the bridge by Tiziano
the Gallena Borghese, Rome, one is by
Aspetti (Actually,
which is usually ascribed to and the other by G
Aspetti
Bellotto [Fritzsche, 1 936, etc ]
Campagna ) The two statues
The same considerations apply are now in the atrium of the
here as (or no 216. above. Biblioteca Marciana The
buildings of the Mint, on the

218E® 10
i7«
87
S:
right, and, on the left, the
Granaries are also shown in the
painting A "finished" drawing,
The Colosseum and the
Arch of Constantine which is in part related to the

Hampton Court, Royal painting, is also at Windsor

Collections Castle (no 7459) [Parker,

Signed and dated: "ANT 228A 229A 1948]

CANAL F MDCCXLII"
.1
106v 128
219E3$ 60
^3 @:
955
225HS> 1743-44
I

The Quay with the Doge's •

i The Convent of the Carita.
Palace and the Prisons Venice: a Capriccio London,
towards the West Windsor SSJST'il '
tu Buckingham Palace
Castle, Royal Collections This was part of the group
Signed and dated "A CANAL described under no 221, above,
FECIT XXIV OCTOBRIS and inventoried (no 3) by
MDCCXLIII": companion piece Joseph Smith, who correctly
to no 220 identifies the architectural
230A 232
subiect
58 5 x 94
220ES3^ i 74 3 S: following inscription is found on
thefirst pedestal AB VRB
executed
between ca
for Joseph Smith
1743 and 1 744
223E3^T 9
7 43- 4 4
, 31
i:
The Piazzetta towards the COND MCCCXXXII P (judging by dates inscribed Motifs of the Quay and St x 3
Torre dell'Orologio from the G[RI]MANIVEN DVCEFOEL
I

some of the paintings) (see

in

Mark's Square: a Capriccio 226E3$i74 3!4 4 S:

Libreria to the Doge's Palace REG Since AD 421 is generally 222 ff and 238(f) They were Windsor Castle. Royal The Rialto Bridge after
Windsor Castle. Royal considered to be the foundation registered in the inventory at Collections Palladio's Design: a
Collections date of the city of Venice, the Windsor Castle, which still group described
Part of the in Capriccio Windsor Castle.
The inscription is identical with inscription date should allude to contains nine of the series no 221, above In Joseph Royal Collections
that of thecompanion piece 1 753. but this date does not fit [Levey. 1964] Smith's inventory, described
it is Signed "A CANAL F."
(no. 219): "/I CANAL FECIT the style of thework Constable (no 7) as "the Piazzetta with Another one of the same group
XXIV OCTOBFtlS MDCCXLIII [1962] has suggested that three flag poles set up in front of (see no 221, above) inventoried
The corresponding drawing is Canaletto may have made an the Church of St Mark (no. 1 ) by Smith The fountain
also at Windsor Castle (no error by using one X too many in the painting is to be found
84.5 * 129,!
7436) In that case the inscription on
would read
222E3S 02X129.5P5 2
1743-44 H S 224E3$
The Pescheria Bridge and
1743-44 [Watson. 1 954] in Andrea
the pedestal Palladio's project, shown in the

221 H£ 108x129,51
1743?
MCCCXXII
foundation
322 years
( 1 after the
of Venice), referring
The Church of San Giorgio
Maggiore: a Capriccio
Buildings on the Quay: a
Capriccio Windsor Castle,
Qualtro Libn del/'architettura,
published in Venice. 1 570. and
The Horses of the Basilica of to the year 1 743. which would Windsor Castle, Royal Royal Collections certainly known to Canaletto
St Mark's in the Piazzetta : accord with the style of the Collections Another of the thirteen works (Palladio's drawing, now in the
a Capriccio Windsor Castle, painting The work is one of Signed 'A CANAL F It belonging formerly to Joseph Museo Civico, Vicenza, is
Royal Collections thirteen painted as decorations belongs to the series described Smith (see no 221, above). different from the version printed
Signed "A. CANAL FE :\Ue to be put over doorways. m no 221, above Smith's inventory mentions two in 1570.)

A
I IO 238 239 240 241
227E3^ ,01 5
1
, 2 95

7 43- 4 4 5s tdl S v9l743-44'> Q S

often depicted, with slight
variations in the angle of view
MDCCXLIV" It appeared in the

Smith inventory of the thirteen

Colleoni a Capriccio
:

Windsor Castle, Royal

The Prisons of Venice a : Festival at the Arzere di 8 Another version (98 x 1 13 doorpieces described at no 221 Collections
Capriccio New York (?), Santa Marta Berlin, cm), very similar in composition above Inscribed "ANTOC F /

Schaeffer Collection Gymnasium zum grauen Kloster and style, and hence datable MDCCXLIV" It is difficult to
Initialled "AC". Constable For general information, see about 1 744, belonging to the 106 5^ 128,5 find a corresponding description
[1 962] first thought this was a

view of Villa Pisani, at Stra But

no. 228, above Sketches related
to the painting are on two sheets
Neave Collection, Artramont.
Wexford, companion piece to
23953$ 1744 IS in Smith's inventory of the
thirteen works mentioned in no.
his later hypothesis [1 964] that in ( ?) the Brass Collection, no. 245 A
The Libreria and other 221 above, but there seems to
,

this is an imaginary composition

Venetian Buildings: a
Venice [Miotti, AV, 1966], C Another version (47,5 x 79,5 be no doubt [Constable, 1 962]
based on the prisons of Venice is where the subject is mistakenly cm), also with variations, was Capriccio Windsor Castle,
that this was one of the works
Royal Collections
much more convincing. This called Santa Maria. It was in the possession of J Weitzner,
inscribed "A CANAL F I
® '$? I
It is
hypothesis allows us to identify engraved by Brustolon and New York, in 1 957 [Constable,
the painting as one of the published by Furlanetto in the 1962] The dating is uncertain,
1744 "One of the thirteen
works inventoried by Smith (see
241 S3
doorpieces inventoried by Joseph series of Venetian views (no. 9) but it may be fairly close to the The Church of San
Smith (no. 9) See no. 221 described at no. 230, above Windsor Castle and Artramont no 221, above) Smith described
Francesco della Vigna :

itas a "corner (with three

above versions listed above a Capriccio Milan, Private
arches) of the Library of St
collection
232B05SS?la 238E3® ,X
>

Mark's by Sansovino ".

108 5 It is signed: "A CANAL F /

S: 1744" One of the thirteen

228 B®!^!
The Bucintoro Returning to 107.5/129.5
2 the Quay on Ascension Day
London, Dulwich College
The Scaladei Giganti a
Capriccio Windsor Castle,
:

240 E3$ 1744 I: decorative pieces (see no 221,

above), inventoried by Smith as
The Grand Canal from Royal Collections Roman Ruins and the the Church of San Francesco
Picture Gallery
Campo Santa Sofia to the
signed "ANTOC F Venetian Monument to della Vigna by Palladio
A version of the subject painted It is I
Rialto Bridge Berlin,
by Canal ;:to in his youth in the
Gymnasium zum grauen Kloster
splendid picture at Windsor
A. This work, together with
Castle (no 67 A) It is based on
three others (nos. 229-31 ). was
the same preparatory drawing,
donated as group by Sigmund
a
also at Windsor Castle (no.
Streit to its presenthome (1763)
7451) [Parker, 1948]
The donor was in Italy for along
time, chiefly in Venice and
23,5x37
Padua, so it

establish the date

is not possible to
when he 233E3S 1743-44?
I

purchased the paintings The The Church of San Salvatore.

dating is established solely on Venice
considerations of style Voss's Seems stylistically very close to
attempt [RKW, 1 925] to ascribe no. 246 A. It used to belong to
the works to Moretti is the Hope family From 1 91 7 to
unacceptable Constable's 1 923 (when disappeared
it

detailed chronological from view) it appeared

ascription (given here) [SL V, frequently on the art market,
1956] seems totally acceptable sometimes incorrectly attributed
The composition is connected to Bellotto.
with sketches on a sheet
formerly in the Viggiano
Collection and
Miotti Collection,
now
Udine
in the
[Miotti.
234 EH ^-^i
A V. 1966] The Scuola di San Teodoro
London, Ward Collection
B. Another version (98 x 1 31
cm), perhaps entirely autograph, Constable [1962] has
convincingly related this work 242A 244
is in the Dulverton Collection,
to no. 233, above
Batsford Park [Constable, SLV,
1956]
77,5X119,5
235E2S 1744 IS
St Mark's Square from the
119x1851
229E38 1743-44? I
Libreria to the Basilica
towards the West London,
Campo di Rialto Berlin, Buckingham Palace
Gymnasium zum grauen Kloster Theinscription reads: "ANT
A. group described
Part of the CANAL FECIT MDCCXLIV"
in no. 228, above Note that Gai's gates are not
B. A fine replica (94 x 127,5 depicted in the Loggetta,
cm), probably contemporary, although they were set up in
belongs to the Ward Collection, 1 735-7 The composition, with

London its "cropping'' of the Campanile,

C. Another version (93 x 127 is particularly daring Companion

cm), slightly later, which was in piece to no. 236

the Drury Lowe Collection,
Locko Park [Constable, SLV. 76
1956]. 236E3® i7
1

47
5
S:
St Mark's Square with a
View of the Basilica towards
the South Windsor Castle,
230 H^ 119X1851
1743-44?| Royal Collections
Companion piece to no 235
Festival at Night at the
Signed and dated: "ANT.
Church of San Pietro di
Castello Berlin, Gymnasium
CANAL FECIT MDCCXLIV.
The viewpoint seems to be the
zum grauen Kloster
Torre dell'Orologio.
A. Part of the set of four
discussed in no. 228, above A
Two versions, mentioned by
Constable [1 962], have been
print signed by G B Moretti "et
lost.
Filii", engraved by Brustolon

and included in the set of ten

,2 x 203
Venetian views published by
Furlanetto (no 10) is derived
237E3® i7 44 S:
from this singular painting The Entrance to the Grand
B. Another version (96,5 x 131 Canal with the Church of
cm.) is mentioned by Constable the Salute Windsor Castle,
[SL V. 1 956] as being in the Royal Collections
possession of a collector in A. The inscription reads: "A.
Athens. CANAL F 1 744". This view was
249 250 III
 242H® 47
-^ Is
7 5-

243 E3£
46*76
1744 244 H^ 61 X92.5I
1744
A The
companion
dating is

piece,
that of
no 237 B
its
250 H®-!^-!:
The Rialto Bridge from the St Mark's Square towards The Harbour of St Mark's B Another version, in the The Quay from the Harbour
South the Basilica London. Bisgood from the Giudecca Canal Wallace Collection. London of St Mark's Munich, Alte
A Ins inscribed "ANT CANAL Collection Wakehurst Place, Sussex, Price (59 x 93 cm), companion piece Pinakothek
FECIT MDCCXLIV" Formerly A The dating given above is Collection of no 247 A A version of a subject already
1 930) in the Trotti Collection, based on that of its companion Companion piece to no 243 B, painted, for example, in the

246 m®
(

piece, no 242 B and so datable to 1 744 It should 41.5 -33. 5F group for the Duke of Bedford
Paris
1744-45? E
B A variant, almost certainly B This version (61 x 92,5 cm ), be noted that the facade of the (no. 87 A), and one he was to
contemporary, in the Bisgood in the Price Collection, Church of the Pieta appears as it Campo Santi Giovanni e return to for the painting at
Collection, London (46 x 76 Wakehurst Place (Sussex), is was before its reconstruction in Paolo with the Colleoni Holland House (no. 274 A) It
cm), companion piece to probably of the same period, 1745 Monument London, Lord was a group of four (including
no 243 A companion piece to no 244 Brownlow Collection nos. 251 -3) that once belonged
C Another variant in the Musee
Jacquemart Andre, Paris
C
the
This controversial version
Musee Jacquemart Andre,
in
245 E3S 98x113 •1744'
A An inscription on the back
says that the painting was
( 1 806) to Antonio Canova
[Guattoni. Memorie
(45 x 76 cm), companion Paris (45 x 76 cm), is rather The Quay with the Doge's acquired by Sir Abraham Hume, enciclopediche, 1806-19]
piece to no 243 C late, but (airly close to the works Palace towards the West who gave it to Lord Alford This Constable [1 962], ascribes all

above, companion piece to Artramont. Wexford, Neave does not. however, provide four works to the workshop, at
no 242 C, above Collection sufficient information for dating, most under Canaletto's
nor does the probable reference supervision, which is
toit in the correspondence

between Sesso and John

Strange [Mauroner. AV. 1 947,
Constable, 1962] The hints of
fantasy which are comparable to
that of other works dated 1 744,
suggests a tentative dating to
that year.
B This lovely version is
probably close to no 246 A
above in date The variation is

only slight Formerly in the

Mountbatten Collection,
Broadlands (28 x 20.5 cm).

247 H^ 59*93
•1745

The Riva degli Schiavoni

towards the East London, 259
Wallace Collection unquestionably recognisable.
A This version was painted The four have also been
before 1 745, when the new attributed to Bellotto
facade of the Church of the
Pieta was erected, as it is not
shown here But
other versions such as the
it is later than
251 ffl®-,^-!:
Egerton (no 81 and Albertmi )
The Entrance to the Grand
(no 143 A) Companion piece Canal with the Church of the
to no 245 B Salute towards the East
B Another version, with slight Munich, Bayensche
variations, it is probably very Staatsgemaldesammlungen
For general information, see no
near in date and belongs to the
Earl of Normanton (57 x 92,5 250, above Another version,
cm ), companion piece to painted a few years earlier, is in

no 248 the Lyon Collection, Geneva

(no 160)

- 248E3$ 57 92
•1745
252Bg®-i
69 9 4
7 45 4 6 -Is
The Grand Canal from
Palazzo Grimani to Ca' The Grand Canal from
Foscari Ringwood, Earl of Campo San Vio London,
Normanton s Collection Joel Collection
Only from the
slightly different For general information, see no.
Windsor Castle and former 250. above The one formerly in
Harvey versions (nos 69 A and the Harvey Collection (no
116) It is later, though before 1 1 2 A) is another version.
1 745, the date established by

the companion piece, no 247 B

262 Constable [1 962] has noted the

use of sketches in the
253H®"«J2-IS
Vf&£*~> The Grand Canal from near
sketchbook in the Accademia.
the Rialto Bridge towards the
Venice
North London, Joel
Collection
137 162,51
249E38
m
For general information, see no

m
1745

^m
I
250. above It is a repetition of
»• The Bucintoro at the Quay the Windsor Castle view (no
on Ascension Day 75 A) and is not stylistically
Philadelphia, Museum of Art, dissimilar from the other two

263
fasr*; 4 William L Elkins Collection
The Campanile of St Mark's
paintings listed as nos 75 B and
75 C, though it is later in date
seems to be damaged From a
note written by Canaletto on the 66x127
corresponding drawing, now at 254 E9® 1745-45''
I

Windsor Castle (no 7426) The Islands of San

[Parker, 1948], we know that Cristoforo, San Micheleand
was the result of lightning
this Murano from the
damage on 23 April 1 745, which Fondamenta Nuove
makes it possible to date this Leningrad, Hermitage
picture exactly. The authorship was once
g-f pj" tf£u>a At first Constable [1962] challenged, but on insufficient
ascribed the picture to the grounds The subject is the same
workshop, but later [1 964] as that in the controversial
HHtt attributed it to Canaletto. painting at Windsor Castle (no.
112 264A 265
365) Style would date to it oval frameGIO ANTONIO
probably |ust before Canaletto's DA CANALEORIGINE CI VIS
departure for England VENETVS' and CELEBRE '//_

Companion piece to no 255 CANALETO" is inscribed on the

255 ESS
The Church of San Giovanni
dei Battuti at Murano with
Venice in the Background
Leningrad. Hermitage
Companion piece to no 254
Parker [1 948] and Constable
lower part Published as an
autograph work by Watson
1745-46' E3 ; [BM. 1956], (Haskell [AB.
j » T^J^V
1962] agrees, but Moschini
[AV. 1 962] seems doubtful )
Watson persuasively argues A
that the background is rendered
in Canaletto's style Examination
of this part of the picture, in
»->*'
....

relate it to a drawing at Windsor particular of the view of St Paul's 267

Cathedral, so close to its
Castle (no 7458) The subject
had been previously depiction in the Richmond
painting (no 260; 1746).
misinterpreted by von Hadeln
confirms the date of the work
[1930] This drawing is
connected with a drawing in the
Museum Boymans-van
Beuningen, Rotterdam, and
with a sketch in ?) the Brass
(

Collection. Venice [Miotti. AV.

26OH® V r Is ,0
7
5

London and the Thames

1966] from Richmond House
Goodwood, Duke of Richmond
148.5X132.SC and Gordon's Collection
256BS 1746? t On the basis of Hill's letter (see
Outline biography), this picture 268
The Bucintoro at the Quay and its companion piece (no
on Ascension Day 261 have been considered to
)

Formerly in the Lovelace

be Canaletto s first works in
Collection, it was lost from sight England and are therefore dated
after it appeared on the London
1 746 Hayes [BM, 1 958] has
market in 1 937 It is different in related the two works to a
style from the uniform group of
drawing in the Blofeld
sixworks that also once Collection. Hoveton House,
belonged to the Lovelace Norfolk, which seems to date
Collection and which date from
from 1 747 Hayes therefore
about 1 754 (see nos 305 ff )
dates the paintings to 1 747. and
This painting was probably done Constable [1962] partially
just before Canaletto's departure
agrees "In some of his earlier
for England A very closely Venetian paintings for example
jfc.jjaSI
relateddrawing is at Windsor 273 269
. The Church of the Carita.
. .

Castle (no 7453). one that was

from San Vitale. in the National
also used for other versions of
Gallery, London (no 33) -
the same subject Canaletto had already made use
viewpoint the view
of the raised

257HS-i 6
746
7
M° from above is no longer just a
circumstance of the viewpoint
thatdoes not substantially
The Prisons London, Private
collection modify the pictorial composition
There is no external evidence for the great terrace which seems
dating this singular work, which to continue right under the
tojudge from the style was observer is the very manner of
probably painted just before declaring the sense of space
Canaletto s departure for with which the artist wants to
England Companion piece to invest the picture movement
27 4 27 4 B
no 258 is stated in a way that could not
be more explicit The transverse
cropping goes far beyond the 262BS 18x238
1746-47 263 as; 8 x 238
746-47
I
of 1 746 7 However the style

258 a® WIS
I

does not support this hypothesis

limits of the frame, and is The Thames towards the City The Thames with
The Church of the Redentore
London, Private collection
intended to make the observer
take part existentially' in the
with St Paul's Cathedral in
the Background Prague.
Westminster Bridge
Background Prague.
in the
264 as 48 81
1746-47

painter's station .joint, to put the Narodni Galerie Narodni Galerie The Thames from York
Companion piece to no 257 A observer inside the painting'' It was acquired about 1 752. For provenance, see no 262. Water Gate towards
version of the subject depicted
[Brandt, 1960]. together with its companion above The picture can be dated Westminster Bridge
in the Leggatt painting (no
piece (no 263). by Prince to 1 746 from the condition of London ( ?), Wood Collection
104 B). but a bit later
Lobkowicz It belonged to his the bridge Further, in the A Westminster Bridge appears

259ES .5X28
746''
261 as
Whitehall and the Privy
109x119.51
1746 I
descendants until it was
transferred to the Prague Gallery
[Safank. AV. 1964] The dating
painting formerly in the
Buccleuch Collection (no 267).
dated to 1 747. the bridge is
as it must have before May 1 746.
when Canaletto reached Great
Britain The bridge is shown in
Self-portrait Anglesea Garden from Richmond is based on the condition of shown as completed But it is the same stage of construction
Abbey. Lord Fairhaven House Goodwood. Duke of Westminster Bridge as depicted also possible that Canaletto may as here in a drawing rightly
Collection Richmond and Gordon s in the companion piece have done both pictures connected with the painting
The following inscription is on Collection expressly for Prince Lobkowicz (London, property of Montagu
the upper part of the simulated Companion piece to no 260 about 1 752 and used sketches Bernard) [Finberg. WS. 1920-1;

fi^L

\' *•' . * k fi
Hv
.

T~\ I
' J. Of ' '
r fl 1

§4 »
•
J
-l^LU
1
3 * v (,» k9l
Eli
!

270 277 272 "3

 Hadeln, 1930] This
contradiction may be due to the
267E3S U I 9 3
47
5

fact that our information about Westminster Bridge from

the progress of the bridge is the North
incomplete, being based chiefly Formerlyin the Duke of

on the evidence 751 of the

[1 ]
Buccleuchs Collection The
architect C Labelye The dating date is assured by a print
1946 7 for both the picture and published in 1 747. and is
the drawing fits the style confirmed by the stage of
B An autograph version construction of the bridge
(75.5 x 106.5 cm ) in which the |Finberg, WS. 1920 1
bridge is shown as complete is Constable. 1962]
consequently dated about 1 750
[Constable. 1 962], although it
seems
the
stylistically
Wood version The painting
very close to
268H$ 6
i
5 95
74 6 :4 7 Is
is in the Douglas Pennant
The Venetian Lagoon with
Collection, London an Oval Church: a Capriccio
( ?)
New York. Fonda Collection
This enchanting picture may
belong to the beginning of
Canaletto's stay in England
57x95
265 E3S 1746-47
(Constable. 1962]

Panorama of London seen

through an Arch of
Westminster Bridge
269E3S 65' 6
i 746-50
114 51
I

The Church of San Giorgio

Great Britain Duke of
Maggiore and the Rialto
Northumberland s Collection
Bridge: a Capriccio Raleigh.
An engraving published in 1 747
North Carolina. State Art
by J Bnndley derived from
is
Museum
this painting and provides a
Constable [1962 and 1964]
certain terminus ante quern for it
observed that the format and
The work could not have been
manner of composition suggest
done before July 1 746. judging
that the painting belongs to a
from the report of the architect
set similar to that painted for
of the bridge.C Labelye [1 751 ]
Farnborough Hall (nos 149(f)
There is a drawing at Windsor
He dates the work to Canaletto s
Castle (no 7561 related to the )
English period the present
painting [Constable OMD writerwould date it to the
1 929) The whereabouts of
beginning of the English period
another drawing that was in the
Monro Collection until 1833
WS, 920
[Finberg.
unknown
1 1) is
Z/UEaor 1745-55 fc=k 278 279
A Renaissance Palace and
Roman Arch: a Capriccio
a medieval pastiche which is
already romantic in feeling, are
Northumberland's Collection
An eighteenth century 274H£ 85 134,51
1747-50 E

Arundel Castle Duke of painted with such elaboration inscription in English written on The Quay from the Harbour
(hat one ought to consider them Mark's
266 E3 &
Norfolk s Collection a sheet of paper attached to the of St
1746-47 H2 The style of this work and its two apart from the broader capricci. back attributes the painting to A A version of a subject already

Westminster Bridge Being companion pieces (nos 271 and however similar, that he painted Mr Canaletti" and dates the painted as early as 1 730 1, in

Built Great Britain. Duke of 272) date them to the English before his departure for work 1747 It provides the Bedford view (no 87 A)
period, perhaps its second half, London' [Morassi, 1954] information that has been Itseems to have been done for
Northumberland s Collection
judging from the location of the interpreted by Finberg WS Holland House, hence during
Another bold composition [

pictures, although there is no 1920 1 and indicates that the

inspired by Westminster Bridge
which is depicted shortly before certain documentation 272HS 00 5 '1461
1746-55 I
]

view was painted for Sir Hugh

Smithson, first Duke of
Canaletto's stay in England,
between 747 and 1 750 It was
1

documented as early as 1 767

it was finished (25 October Renaissance and Gothic
Buildings and Church a Northumberland, who also [Constable. 1962] In 1941 it
746). when
the scaffolding had
1

271 E3S
:

1746-55 Capriccio Arundel Castle. commissioned other works of was on the New York market
not yet been removed and
Duke of Norfolk's Collection Canaletto thai still belong to the B A smaller version (44 x 59
finishing touches were still to be A Triumphal Arch from the
made, and repairs of defects Portico of a Palace a See nos 270 and 271. above family It was painted in the years cm ) belonged in 1 939 to D
:

a before and after

little Tziracopoulo of Berlin, but it has
that were soon discovered had Capriccio Arundel Castle.
84 137
Canaletto's stay in England since disappeared It must
not yet been started Hence the Duke of Norfolk s Collection
picture must be dated between For general information, see no 273E3S 1747
|

belong to (he period 1 747 50

autumn 1 746 and the beginning 270, above "Canaletto s bizarre Panorama of Windsor Castle
of 1747 [Constable 1962] mixture of styles presenting a Great Britain Duke of

I I ~f 285A 287 288

275E3® 66 1 12
5[
1747-50 [
and tiny bits of
diffused and bland luminosity,
undergrowth a
284HS 45,5x76
mo?
the Vestey Collection (Stowell
Park), companion piece to no
(see Outline biography), when
he might have brought the
Greenwich Hospital. full of atmosphere, dominates Westminster Bridge with 285 B painting and its companion
London, from across the the grand scene' [Pallucchini, Lambeth Palace in the piece (no 286 A) to him
Thames London, National 1960) Background from the North 10 5X186, 5t Constable [1 962], more
Maritime Museum London, ( ?), Earl of Strathcona's
285E3$ i 750-51 E convincingly, thinks that

280 HS
A There is no external evidence 45.5X76 Collection The Thames with the City in Canaletto painted both pictures
to establish precise dating, but 1749 A the Background from the
The bridge looks as it did during that stay, on the basis of
this beautiful view has the same after the repairs carried out of Terrace of Somerset House drawings he had already done in
The Old Horse Guards and
style as the works Canaletto defects found 750 However Windsor Castle. Royal England These drawings would
the Banqueting Hall, in 1
painted during the first part of
considerations of style suggest Collections be a "finished'' drawing at
London, from St James's
his stay in England that it is not later than 1 750. A This view originally belonged Windsor Castle (no 7560)
Park Great Britain, Trustees of
B Another version (54,5 x 89 Related drawings are at Windsor to Joseph Smith, and this has [Parker, 1948] and another in
the late Sir Arthur Wilmot
cm.) was noted by Finberg [WS. Castle (no 7558) [Parker. led scholars to construct two the Seilern Collection. London
The most convincing date,
1 920-1 ] in the Burns Collection.
suggested by Watson [BM. 1 948], the British Museum (no. different hypotheses about its [Constable, BM. 1 927, Hadeln.
London, where it was also 1868-3-28 305) [Hadeln, date Finberg [WS, 1920-1] and 930] Levey [1 964], however,
1 was before autumn 1 749
950], 1
examined by Constable [1 962] 1 930] and the National Trust, others think that Canaletto dates the work to before 1 750.
The old Horse Guards was
demolished in 1 749-50, and the Stourhead [Watson, BM, 1 950] received the commission from B A small autograph version

276E3$;76x66 747-50
trees in the park are in
bloom Two preparatory
summer B A contemporary version by
Canaletto (45,5 x 76 cm.) is in
Smith just before his brief trip to
Venice between 1 750 and 1 751
(46 x 76 cm), perhaps slightly
earlier, in the Vestey Collection;
Henry Vll's Chapel at sketches, formerly in the
Westminster Abbey: Interior Viggiano Collection, where
Great Britain. Kleinworlh Watson and Constable [1 962]
Collection saw them, have gone to the
A It is supposed that this
Accademia, Venice [Miotti,
painting, with a possible
1965]
companion piece (no. 277).
belonged to S Dickenson until
122x249
281 ES>
1
1 774 It would seem
date to to
1749
the first part of Canaletto's stay
in England, judging from its The Old Horse Guards from
relationship tono 283 [Finberg, St James's Park Basingstoke,
WS, 1920-1] The quality of the (?), Earl of Malmesbury's Collectioi

painting, which is not The date of the work, which was

286A 286B (Plates Lll LIU)
particularly high, has raised mentioned in 1 756 in the
some doubts about authorship possession of the Earl of Radnor,
B. A far more controversial can be established with
version [Constable, 1 962] is in certainty, not only because of
the London Museum, London the demolition of the building in
(71 x 60cm 1 749-50 but because of the
)

announcement that Canaletto

published in the Daily Advertiser

277EW 1747-50 (reported by Vertue on 26 July

1 749. but printed on 25 July)

King's College Chapel. inviting anyone interested to see

Cambridge: Interior the view of St James's Park in
Probably the companion piece his studio in Silver Street (see
to no. 276 - hence also in the
Outline biography) A drawing
possession of S Dickenson until related to the painting
is in the
1 774 The authorship has
British Museum
(no 1863-3-
justifiably been questioned on
28-305) [Constable, 1927;
many occasions, and Constable Hadeln. 1930].
suggests that it may be an able
copy It is hard to solve the
question, since the painting's
whereabouts are unknown,
282E® 8
i749
37
Is
though it did appear at the View of Syon House,
Canadian exhibition in 1 964 Middlesex Great Britain. Duke
[Constable. 1964] of Northumberland's Collection
This was painted for Hugh
Smithson. first Duke of
86 « 122
278E3® 1748 Northumberland, who wrote
from Syon to the Duchess of
Badminton House from the Somerset on 2 July 1 749 saying
Park Badminton House.
that the painting had been
Gloucestershire. Duke of
begun and that he expected it
Beaufort's Collection
to be an important work
This picture was expressly
[Constable, 1962]
painted, together with its
companion piece (no 279). for
,99x101,51
the third Duke of Beaufort, as
reported by Vertue, who also
283 53^ 1749

provides information about the Westminster Abbey with

date [Constable, BM. 1 929] the Procession of the
Knights of the Order of the
Bath London, Westminster
279H$ 86x122
1748
Abbey
This shows the Knights of the
Badminton Park from the Order of the Bath in the Chapel
House Badminton House. ofHenry VII in the Abbey on
Gloucestershire, Duke of 26 June 1749 Thus the painting
Beaufort s Collection may be dated just after that
Companion piece to no 278, event It was painted for Joseph
above Canaletto Wilcocks, dean of Westminster
immediately understood the and Bishop of Rochester
charm of the English landscape [Finberg, WS, 1920-1] We
"and here reveals "a singular may note humour
"the bizarre .

sense of landscape in its which is more emphatic in its

panoramic grandeur, carrying expressive characterisation
our view as far as the horizon, [Moschini, 1 954] that marks the
which is marked by a line of figures. It is quite different from
trees The gradation of the green the handling of figures in his
of the fields is very subtle, with Venetian paintings and also
the cows grazing, the carriages unlike other works he painted
drawn by three pairs of horses. during his English visit.
292 293 "5
 '

This broad view

at
was
an unknown date. The left
cut in two
291 E3S 73x122
•175V
part (86,5 x 106,5 cm.) belongs East Front of Warwick
to the National Trust: the other Castle Warwick Castle. Earl of
(95,5 x 127 cm is in Cuba It
) Warwick's Collection
was in a private collection and A. Companion piece of no
may now be in the possession of 291 B (for other information, see
the state Canaletto painted it in no. 290 A, above) A
1 751 and showed it in his studio preparatory drawing is in the
in Silver Street, according to the Lehman Collection, New York
announcement that appeared in [Constable, 1962]
the Daily Advertiser on 31 July B Another version (75 x 122
[Constable, 1962] (see also cm), also painted for Greville,
Outline biography) The still Warwick Castle It is
at
Ranelagh Rotunda, a painted from a different angle
masterpiece begun ca 1 740 after and is the companion piece to
plans by W
Jones, particularly no 291 A
struck Canaletto's fancy
Chelsea College (now Chelsea
Hospital) had been begun in
1 682 after plans by Christopher

Wren The Cuban half of the

292H& 79,5x1181
1751 *?

picture was published by Old Somerset House from

Simonson [BM, 1922]; the the Thames Minneapolis,
English half was in the Canaletto Institute of Arts

in England Exhibition (1959) This work is of great

290 EDS
South Front of Warwick
Castle Warwick Castle.
Warwick's Collection
A One of a set of splendid
views of Warwick Castle, which
vary in size but were painted at
the same period All except one
(no. 290 C) were most probably
painted for Francis Greville,
became Earl of Warwick
and are in the possession of his
descendants Pallucchini [1960]
dates them a few years after
Canaletto's arrival in
they probably date from |ust
from his short
after his return
Venice (1 750 1 A
trip to
drawing related to this view is
documentary interest Old
Somerset House, built in 1 549,
had been a royal residence and
42X71
"1751 was later used for foreign
ambassadors It seems to have
been occupied in 1 763 by an
Earl of
envoy of the Venetian Republic
The building was demolished
(and replaced by Chambers
Somerset House), from 1 766
onwards There is no external
evidence for the date of the
painting, but it must have been
who done in the second half of
in 1 759, Canaletto's stay in England A
related drawing is in the Du
Cane Collection, London
[Hadeln, 1930]
England,
)

in
2930$ 1751-52

the same collection, and was View Alnwick Castle in

of
acquired in the nineteenth Northumberland Albury
century Park, Duke of Northumberland's
B Another version (75 X 120,5 Collection
cm ), varied by a closer A One of the most evocative
viewpoint, also in the possession works of Canaletto's period in
of the Earl of Warwick England It shows the castle
C A version of no290 A, before the restoration by Robert
almost certainly painted after the Adam (1752 3) Thereis a copy

drawing mentioned at no 290 A of the painting by S Scott and

299A 299B above [Constable, 1 962], in the dated 1752
companion piece to no 24b b Sayer and H Overton on 2 Private collection or Museo Collection of Lord Astor of Hever, B Another version, identical in
Many other non-autograph December 1751 makes dating Nacional London (72,5 x 120,5 cm ) The size (133,5 x 1 39,5 cm), also in
versions are listed by Constable to that year plausible [Constable The dimensions given above are only differences are in the the possession of the Duke of
[1962] 1 927] The inscription on the hypothetical and the picture arrangement and depiction of Northumberland, at Alnwick
print -CANALETI DELIN may originally have been larger figures Castle [Constable, 1962].
however, refers to a drawing and
286HS 40.5*70.51
40
750-51 [
not to a painting by Canaletto
[Constable, 1 962 and 1 964]
The Thames with
Westminster Bridge in the
Background from the ,18 5 2735
Terrace of Somerset House 288E3^ l 75, io
Windsor Castle. Royal Whitehall and the Privy
Collections Garden towards the North
A. Companion piece to no. Bowhill, Duke of Buccleuch's
285 A A preparatory drawing is Collection
at Windsor Castle (no 7559) This was painted for the Duke of
B Another version (106,5 x Montagu [Finberg, WS,
1 85,5 cm.) belongs to the Duke 1 920-1 The Duke died on
]

of Hamilton and Brandon at 5 July 1 749, but the architecture

Haddington. The date is hard to shown than 1 749 Hence
is later

determine, but it has been ithas been supposed that the

ascribed to the last part of
Canaletto's stay in England
[Zampetti, CMV. 1967]
Constable [1962] mentions
various non-autograph copies.
painting had not been finished
when the Duke died and was
only completed a couple of
years later [Hayes. BM. 1 958]
The style of the picture would
fit in with this hypothesis

50 8 7 6 8
287E3® i 75i ,
'

Is
The Grand Walk, Vauxhall 289Q8 95,5x233,5
1751
1

Gardens, London Chelsea College with

Brynkinallt, Denbighshire, Lord Ranelagh House and the
Trevor Collection Rotunda Great Britain,

n6 An engraving published by R National Trust; and Havana.

303A (Plates LX-LXI) 313
294H$
Motifs of Vicenza and
'81.5X115.5
1751-55' m
Rome: a Capriccio Italy.
Private collection
A Signed "ANT CANALETTO
FE" In the middle there is a
singular |uxtaposition of
Palladio's Rotunda at Vicenza
with what seem to be the
remains of the Temple of Saturn
in the Roman Forum on the
right Stylistic evidence suggests
that dates from the second
it

part of Canaletto's English

period.
B. Another version, almost
identical in size (81 x 1 1 5 cm )
and only slightly different (the
addition of the figure of a man
drawing in the foreground,
perhaps Canaletto himself)
[Zampetti. CMV. 1 967] This )

is in the Albertini Collection.

Rome and is certainly
contemporary

74 1 36 5

29503® 1

i7 5i. 5 6 , Is
St Mark's Square from the
Libreria to the Loggetta
Alnwick Castle. Duke of
Northumberland's Collection
A variant of no 1 49, above It
may have been painted in the
last years of Canaletto's stay in

England or immediately after

296 S3 ^ 56X109 1752-53

The New Horse Guards from

St James's Park Hampshire.
Buxton Collection
A. This building, erected to
replace the old Horse Guards,
demolished in 1 749 50 (see no.
281 above, in which the same
,

angle of vision is used), is

depicted here almost completed
Graphic sources identified by
Finberg [WS. 1 920-1] - an
etching published on 2
November 1 753. showing the
finished structure, and an earlier
309 312 314C
version, published on 2
November 1 752. in which the 303
44x71.5 which is mentioned by
303 53 S
no. A, in particular) of 46X75.5
dome of the building
both executed at the expense of
is missing, 298 E3£ 1 752-56 ">
I

FA TTO NEL AN GNI MA Cicogna as having been done by 1754

I

A Round Domed Church: a

GIORATTEN CAVALIER Fambrini The work belonged to
The Ranelagh Rotunda:
R Sayer - allow us to date the ANTONIO C ..." "Done in the James Wadsworth before it

picture between 1 752 and 1 753.

Capriccio Worcester, (
Interior London, National
Massachusetts, Art Museum year ... in London with every appeared on the American Gallery
perhaps to the beginning of care, at the request of Mr Hollis. market It was executed for
1753 An imaginary view that is hard to A Painted for Thomas Hollis
date It might have been painted
my very esteemed patron Thomas Hollis (see no 299 A.
(see no 299 A, above). On the
B Another version, with the Antonio Canal, known as above)
new Horse Guards finished at the end of his English period back is the inscription: "Done in
or just after his return to Venice.
Canaletto'' [Finberg]) One can,
the year 1 754 inLondon for the
(59 x 1 10.5 cm), and hence therefore, establish that the
later in date (perhaps late 1 753
A drawing same subject,
of the first [and] last time with every
in the Fogg Art Museum,
painting was one of six painted care [at the] request of Mr
1 754). It the Drury- Lowe
or
Collection
is in
Cambridge. Mass is closely
related to sketches executed
.

in
in
is
1 754 forThomas Hollis This
also confirmed by other 301 £3 ^ 52
1754
61
Hollis
Antonio
my very esteemed patron
del Canal, known as
England, and this would suggest evidence from its provenance. London Architectural Canaletto ..." Constable rightly
There is some doubt of its order
297H$3£ the earlier dating The painting
was reproduced in an etching by in the series [see Constable,

1962]
Motifs: a Capriccio New
USA. Rionda Braga
Jersey,
draws attention to a print of the
same subject published by Sayer
Northumberland House. Bellotto. and this has Collection on 2 December 1 751 which is ,

London Alnwick Castle, Duke erroneously led some scholars

B A fine version (86,5 x 1 36 Painted for Thomas Hollis (see marked: CANALETI DELIN "

of Northumberland's Collection to attribute it to that artist

cm), in the Neave Collection, no. 299 A, above) The This shows that Canaletto had
Artramont. Wexford, which is architectural features shown are
This can be dated on the basis of Constable [1964] says it was done a drawing of this
an engraving inscribed even closer to the original the Banqueting Hall, the wall of evocative subject as early as
painted before Canaletto's
engraving by Specchi The date the Privy Garden. Richmond
"CANALETI PINX ET DELIN", return to Venice 1751
is hard to determine, but it must House, and the equestrian
executed by Bowles and B Another version (50.8 x 76.2
52x61 be close to that of the Gavito monument to Charles
published by Sayer in 1 753
[Finberg. WS. 1920-1] A 299 S3® 1754 version [Finberg. WS. 1920-1]
I, etc. cm), with
in
a different viewpoint,
the collection of Lord Trevor,
drawing related to the painting The Capitol Square and the C Another version (84 x 1 36 Brynkinallt, Denbighshire.
but not preparatory (from a Cordonata. Rome Mexico cm), closely related in style to Sewter [BM, 1949] notes that
different viewpoint)
no. 299 B. belongs to the
is in the City. Gavito Collection the statement "done for the
A Marquis of Crewe [Constable, 46.5x75
Institute of Arts,
The subject was painted in
Minneapolis This view
engraving by
is

A
derived from an
Specchi, dated 1962] 302 536 1754
first

of
[and] last
no 303 A must inevitably
time" on the back

some of which
several versions, 1692 On the back of the Old Walton Bridge London, raise problems and. of course,
have been occasionally ascribed
to Canaletto They have been
painting there is

inscription that guarantees

a fragmentary
its
300 as 51 '61
1754
Dulwich College Picture Gallery
Painted for Thomas Hollis (see
appears contradictory Since
there is no doubt about the
recorded by Finberg and authenticity [Finberg. A, 926] 1 St Paul's Cathedral. London no 299 A. above) On the back authorship of the Trevor version
Constable [1962], though the The incomplete inscription has USA, Mellon Collection ( ?) isan inscription which repeats. or its close connection with the

latter rightly rejects all been restored on the basis of A view of Christopher Wren's with slight differences, the text Hollis version, it seems that the
attributions to Canaletto. those on similar paintings (see masterpiece, a printed derivation of that on the back of no 303 A artist considered this version as a

"7
 free and independent work the prints of1 742 has been •»<; Canaletto s return to Venice is

[Constable, 1962) The work suggested by Finberg. but has not convincing A related
"•»-
seems chronologically close to been rightly re|ected by drawing was in the Harmsworth
the Holhs version, and it seems Constable Collection, Mereworth Castle
unlikely that Canaletto might 19 A [Levey]
have painted it later in Venice,
when he considered he was no 307a® 3
15
06.5f
754 I iflAi ^3^* '•+
longer bound to his agreement English Landscape and
WQ0^^y ^
with Holhs Architectural Motifs: a
Capriccio Great Britain Bryant
314 a®
The Venetian Lagoon with
137x1261
•1754 -
I

304 H^y
Westminster Bridge
One of the paintings done for
Thomas Hollis (see no 299 A,
above) went from the Disney
It
Collection to the London market
It was auctioned at Christie's on
3 May 1 884 [Constable. 1 962]
and has not been seen since
Collection
1754 For general information, see no
305. above It is the companion
piece to no 308 Finberg [BM.
1 938] has tried to identify the
buildings, which seem to be
pastiches, but in the manner
English buildings Finberg has
pointed out that the exotic'
boat on the right reflects the
great popularity of the taste for
chinoisene in English society
375 Classical Ruins: a Capriccio
Chicago, Epstein Collection
A Another version of the
subject in the left half of no 31 2,
above, with which it is certainly
of contemporary [Constable, BM,
1923, and 1962]
B A good variant (105.5 x 104
cm), although not universally
attributed to Canaletto, in the
in Baltimore Museum of Art

305a® 81,5*115.5
1754 m the middle of the eighteenth
century
[Constable. 1964]
C A third, fine version
A River with Eton College 83,2 x 95,2 cm ), which was in

308 a®
Chapel: a Capriccio London 132 the Davies Collection. Elmley
Collection of the Princess Royal 754 Castle (Gloucestershire). Its
It signed "A C ! 1754 It
is
Motifs of Roman Antiquity present location is not known
belonged, with five other works
and English Landscape: a
(nos 306-10), to the Lovelace Capriccio Great Britain, Bryant
family until a sale in 1 937
Finberg [BM. 1 938] has shown
with good reason that Canaletto
Collection
This is one of thi' set

formerly belonged la the

that 315a® 46 1 23

i75 5 !°
painted the six paintings for Old Walton Bridge London.
Lovelace family (see no 305.
Peter King (who died m 1 754) Sknne Collection
above) and is companion piece
and his brother William The Another version of the subject
to no 307 The individual
dating of the set is based on the already painted the year before
structures cannot be identified
date on this painting An forThomas Hollis (no 302),
with certainty
autograph drawing, derived with variations, that are chiefly
from this painting and perhaps 137C due to a more distant viewpoint
152 5
intended for an engraving (the 309E3S 1754 E Canaletto himself must have
considered this an independent
composition is executed in A Ruined Church and the
reverse) belongs to the composition, to judge from the
Venetian Monument to
Stadelsches Kunstinstitut inscription on the back "Done
Colleoni: a Capriccio
Frankfurt in 1 755 in London / For the first
For general information, see no
and last time with all care, at the
305. above None of the
75 123 been
request of Mr Dickers / My very
306 E3S 1754
architectural features has
identified, except for the famous 321 322 esteemed patron Antonio /

Canal, known as Canaleto" (see

The Island of San Michele
with Venice in the
Background Sussex, Clarke
Collection
For general information see no
305. above Constable [1
identified the subject, but notes
monument
equestrian date to the other version For New York. Brandt Collection
above On the back Outline biography) The
Companion piece to no 310 a related drawing, see is an inscription that
The drawing was engraved by is believed to have been copied authenticity of the inscription is
confirmed by an autograph note
Berardi and published by for the original canvas
310a® 150 '134 5r
1754 Wagner with the note ( Anto
Canaletto mien Berardi scuf
'
(rebacked) "1 754 lo Antonio
Canaleto Pmx v mvenzione"
on a drawing derived from the
painting, now in the Mellon
962] A Palace and a Bridge and an Collection. Washington
Obelisk in the Background :
The caption reads "L'etache This date would fit the style of

some imaginary non divora. Se strugge i sassi the work

the addition of a Capriccio
elements Finberg [BM. 1938] A Another figurative picture ancora Companion piece to 31 1

thought it was a capriccio of On the right is a portal with a

313 a® 61.5X107J
•1754' 316a® 86.5' 134. SC

a®^
-

Murano It is related to drawings statue on top and on the left is

(which Hadeln [1930] considers
to be of Murano) in the
Ashmolean Museum. Oxford
the Museum Boymans van
Beuningen, Rotterdam (lost
during the war), and in the Ten
Cate Collection. Holland The
first of these drawings was
engraved by Wagner in the series
of Six Countty Villages with the
note "Ouanto piii bello appare
f M755 7 E
61
another building Renaissance 311 is Eton College Chapel. Motifs of the Scuola di San
in style, with spires For general
A Villa, a Church and a Windsor London National Marco and of the Church of
information, see no 305. above
Column Bearing a Statue: a
Gallery Santi Giovanni e Paolo: a
Companion piece to no 309 A Finberg [WS. 1920 1] notes Capriccio Artramont. Wexford.
Capriccio Snaigow Perthshire.
drawing related to this painting stylistic similarities to no 273 Neave Collection
Earl of Cadogan's Collection
and to no 310 B isinthe Companion piece to no 31 B and dated this work to 1 747 A This may have been painted
Cleveland Museum of Art Levey's more convincing lust before Canaletto's return to
B Another version (46 x 61 analysis has related it to no 303 Venice or at the very end of his
cm), with the same compositional
elements, in the possession of
the Earl of Cadoqan Snaigow
312 a® 51

The Venetian Lagoon with

85
-

1754
and dated about 1 754
it

Constable's cautious suggestion

[1962] that the painting may
stay in England.
B A fine version (47 x 77
in the Brian Mountain Collection
cm ).

presso la terra il mare' A date for (P< rthshire) It is very close in Classical Ruins: a Capriccio have been executed after (London 7) [Constable, 1962]

V^.^StWm *V

I l8 31 319 323A (Plate LXIV)

320A 324A 325

M
1

feci ~4fe
&l i~ s
*JN
^0Pr
»^W" '*-* ^ _

326 527 328

J
)

Hi "
'IWKJ jj ^ft>»^?^E9t *^^»
l§*U
329 330 335

317 H® ^
A Staircase and Triumphal
6 5
!
The viewpoint is set with

dramatic effect from within the

portico of the Procuratie Nuove.
319 B®
St Mark's Square towards
46
!

The Venetian Lagoon with a St Mark's Basilica: Interior

Arch from a Loggia: a
Capriccio Rome, Accademia
di San Luca
This is a unique piece
Canaletto's repertory and
given to the Accademia by the
painter Domenico Pellegrini
Hence the dating and
Scholars are almost unanimous
in dating the work and its
companion piece (no 319) after
in Canaletto's return to Venice; the
was present writer would say
immediately after Three
drawings have been linked to it:
one at Windsor Castle (no 7427)
the Basilica from the Tomb: a Capriccio Florence, Windsor Castle. Royal
North-west Corner London, Uffizi Collections
National Gallery A For the attribution, see no According to Smith s inventory,
Companion piece to no 318, 324 A Engraved by Berardi for Canaletto shows here the Good
above "One might say that the Wagner, it is marked "Anto Friday service But Parker [1948]
stylised manner of the later Canaletto" and bears the
. argues - not altogether
Canaletto here seems marked by caption "Propizio al pescator convincingly that Smith, who
a certain wit This is not because di luna il lume" 'Moonlight is
( attributed to this painting the

authenticity of the work are [Parker, 1948], one in the too much importance has been lucky for the fisherman ") A sub|ect painted in the

problematic It might have been Wallraf Collection [Hadeln, given to the figures of the related drawing has been noted nocturne at Windsor Castle
painted after the return to 1 930], and one formerly in the worldly clients of Flonan's, by Constable [1962] in the (no. 353, below), was mistaken

Venice Reveley Collection [Levey, which are enchanting but Melbourne National Gallery Gallo [AIS, 1956-7] has dated
1956] All drawings include the because the painting is light, the B. See no 324 B, below A the picture on external evidence

318 £3 S 45X35
1755
-
Clock Tower without its last
floor, however, which was
tones are delicate, and the touch
is freer " [ Moschini. 1 954]
small painting (29,5 x 38 cm )
formerly in the Korda Collection,
belonged A
to Canaletto's youth - 1 722 But
this must be reiected on stylistic
grounds Constable's theory
St Mark's Square towards added in 1 755, so that they in 1 955 it to Grassi,
probably antedate the canvas. New York 1 962] is much more plausible.
the Basilica from the (

South-west Corner London, He thinks that the inscription

National Gallery Verona Fidelis may refer to the
119
 .

honours that the Venetian Senate

had decided to pay (1 5 March
1 755) to Scipione Maffei. at the

request of Verona

42x29
322E38 1755-56

St Mark's Basilica: Interior

Montreal, Museum of Fine Arts
A variation of the famous
Windsor Castle painting (no
321 ). to which it is close in style
and probably also in date A
preparatory sketch is in the 336A 337A 337 C
Scholz Collection, New York 40x47
[Miotti, AV. 1 966] Companion 331 E3® 1756"'
piece to no 323 A
Palazzo Corner della Ca'
Grande Euston Hall. Lord

323 i a 42>
755-56
O'Neill Collection
Occasionally mistakenly
attributed, with the following
The Scala dei Giganti in the three works (nos 332-4). to
Doge's Palace Mexico City, Bellotto But in fact it is typical
Pagliai Collection
of Canaletto's development
A Companion piece to no 322 after his return to Venice,
B A fine version (174 x 136,5 although it is rather cold in
cm), perhaps contemporary, in brushstroke
the possession of the Duke of
Northumberland, at Alnwick
Castle
C A version of no 323 B, 30x39
338
formerly in the Paget Collection,
Great Britain (83.8 x 61 cm )
339
332E38 1756"'

It is considered autograph by
Constable [1962] andZampetti
[CMV, 1967]
44,5X60
324HS.
Palazzo Grimani London,
National Gallery
For the attribution, see no 331
above Levey's assignment
[Catalogue, 1 956] of the work
to the period after Canaletto's
755-56''
I

I
return to Venice is convincing,
but his attribution to the
The Venetian Lagoon with a
workshop is not Constable
House, a Church and a Bell
[1962] dates the work to the
Tower: a Capriccio
eve of Canaletto's departure
Florence. Uffizi
A Some scholars [Ferrari,
1914. etc] have ascribed this to
348B
za for England

344

326 HS^Is
Bellotto, but Constable [1962],
Museum
firmly attributes it to Canaletto
pointing out the decisive
327 B$;' 755-56
Capriccio
of Fine Arts
Springfield,

333E9$ 3
?756
x 8
A i
importance of the print Berardi The Venetian Lagoon with The Venetian Lagoon with a Companion piece to no 328,
Ca' Pesaro London, Private
did of it, published by Wagner Triumphal Arch and a Gothic Castle on a Bridge a : above
collection
with the declaration Anto Building: a Capriccio Capriccio London,
See nos 331 and 332. above
Canaletto Pmx and the caption London. William Hallsborough Speelman Collection
Bread acquired by the sweat of
the brow is sweet'' A related
Property
The authenticity is guaranteed
The obvious similarities to no
326 suggest the same dating 330 HS 1755-59

drawing, certainly autograph, is by the inscription Ant Despite earlier ascriptions to The Rialto Bridge after
in the Metropolitan Museum,

New York Companion piece

Canaletto Pmx ", which appears
in an engraving published by
Bellotto, the
by Canaletto
work is certainly Palladio's Design, St Mark's
Basilica and a View of
334H$ 39 5 x
i 7 56 4
8
I
to no 320 A Berardi with the caption "Proud Palazzo Chiericati at Palazzo Vendramin Calergi
eminence. ignore you and pass Lockinge, Berkshire, Lloyd
B A version with slight
differences (29.5 x 38 cm )
I

by". Since the Gothic structure 328 Eli v9t 755-56- ->M s
Vicenza: a Capriccio
Milan. Conti Collection ( ?)
Collection

belonged to the Korda shown here and in the A Farm, a Portal and Identified by Arslan [AB. 1 948]
See nos 331 and 332, above
Collection, London (see no companion piece (no 325) is a Washing Pool a Capriccio as the painting mentioned by
320 B, above) pastiche of King s College Springfield, Museum of Fine Algarotti in a letter to P Pesci.
Chapel, Cambridge, and Eton Arts 28 September 1 759 [Opere,
College Chapel, the painting Together with the companion 29x43
43 must have been painted after his piece (no 329). it is close to the
1792] Constable has raised
335 53$ 1756" ">

325E3$i 3,
7 55 5 6ls final return to Venice, even if capricci painted in 1 755-6.
difficulties [1962], pointing out
that a version of the same subject The Fondamenta Nuove and
only shortly after (Finberg [BM, though it also resembles, in its now the Gallena Nazionale, the Church of Santa Maria
Classical Ruins and a Gothic in
1 938] does not agree with this grey tones, the views painted
Building: a Capriccio ) Parma (56 x 79 cm), together del Pianto
London, William Hallsborough A drawing in the Albertina, about 760 Constable [1 964]
1 with a companion piece Engraved by Brustolon for the
Property Vienna [Hadeln, 1930], which considers that the two works correctly attributed by Fritzsche set of twenty-four prints
Companion piece to no 326 may have been done after the should be dated before 1 746 [1 936] to Bellotto, is mentioned published by Furlanetto and
painting, may have been by Cicogna as once having been marked "Antonio Canal Pinxit"
Engraved by Berardi in a print
prepared by Canaletto for the 4.5 x 19 r
published by Wagner with the
inscription "Ant° Canaletto engraving by Berardi 329 E3S 755-56" ? t
in Algarotti's picture collection
Nevertheless the present writer
The dating has not been
established, but the painting
Pmx" and the caption Man A River with a Palace, a considers Arslan's argument may have been done just after
works and surfers to live" Church and Ruins: a more convincing Canaletto s return to Venice

/ 20 340A 341A 346

336E3S 16X166
1756- ?
g
E3
*
I
version (101,5 x 1 52,5 cm.)
appeared on the London market
B. Constable notes a version
formerly in the Guernsey Curran
343 me 37x28
1758-60?
I

I 345 ESS* 68.5X106F

'1760 t

Motifs of Padua: a Capriccio in 938:

1 now lost [Constable. Collection (56,5 x 101,5 cm )
The Riva degli Schiavoni The Quay with the Libreria
Hamburg, Kunsthalle 1962] and now lost towards the East Sarasota. and the San Teodoro
A. Stylistic evidence suggests a Ringling Museum of Art Column towards the West
chronological connection with Companion piece to no 342, Titsey Park, Surrey, Leveson-
the two Windsor Castle
paintings, nos 338 (of which
341 me
The Harbour of St Mark's
56.5x1021
1756-60 t

342E3®i7 5^Ii 3
above Version of a subject
previously painted (nos 143,
Gower Collection
A This work was almost
this can be considered a variant) 1 56, 247), but this time the view certainly painted by 1 760
and 339 towards the West from the St Mark's Square from is bolder [Constable, 1 962], but the
Of the many variations Riva degli Schiavoni New Campo San Basso Sarasota. present writer would say only
mentioned by Constable 962], [1
York, Erlanger Collection Ringling Museum of An shortly before that year It is
118 7 29
only the following two may -
with some reservations — be
A. Stylistic evidence links this
painting to the works done
This bold imaginative view,
pervaded by cold light, belongs 344E3® i 75V- Ii
another version of the subject of
the beautiful Albertini painting
attributed to Canaletto shortly after his return to Italy to Canaletto's last period Campo San Giacometto (no. 1 44 A) and forms a set
B (96 x 85 cm ) in
A canvas [Constable, 1 962], Also the Companion piece to no 343 A Ottawa, National Gallery with three other views in the
the possession of Lady Dupree, facade of the Church of the drawing probably related to it is A replica of no 62 and certainly same collection (nos. 346-8)
London (?). Pieta is depicted in a state after in the Musee Conde. Chantilly, much later [Borenius, BM, B The version the Alvan
in
C Another (64 x 77 cm) the restorations begun in 1 745 and is also attributed to Bellotto 1941], Constable [1962 and Fuller Collection,Boston
deposited by the Italian Constable suggests that this [Constable, 1964], 1964] dates it toe 1746, (62,5 x c 94 cm), does not
government at the Accademia, may be that Vue de Venise Constable [1962] mentions Moschini [1 954] dates it after seem totally autograph
Venice [Pallucchini, AV. 1949], which once belonged to several derivations, all of the return from England A Companion piece to no 349
together with its companion Algarotti, according to a post uncertain authorship or not by related drawing is in the Seilern Related to the engraving (II,
piece (no 337 B) mortem inventory (1 776). Canaletto Collection, London. pi XII) inVisentim's 1 742 album

337HS 87,5X120,51
M5V> \

Classical Motifs, a Capriccio

Milan. Museo Poldi Pezzoli
A. This may be a version of a
companion piece to no 336 A
Constable's suggestion [1962]
that a collaborator was involved
should be rejected
B A good derivation (63 x 77
cm), companion piece to no
336 C, in the Accademia,
Venice, deposited there by the
government and published by
Pallucchini [AV, 1949], who
also mentions a version in a
Venice
private collection,
C. Another good version
(124,5 x 108 cm), in the
Saumarez Collection, Great
Britain.

338S& 52X65
1756- ">

Classical Ruins and Paduan

Motifs: a Capriccio Windsor
Castle, Royal Collections
Part of a group which is difficult
to date [Constable, 962, etc ]
1

One piece of external evidence,

of doubtful importance, is
provided by the presence of
Gothic elements, a style enioymg
a revival in England at the time
This would suggest that the
painting is related to Canaletto's
English experience In the case
of this painting and its

companion piece (no 339), the

fact that they were in the
possession of Joseph Smith
ought to indicate that they were
painted after Canaletto's return
to Venice. The style seems to
corroborate this

339 me 52x65
1756 ?
-

Motifs of Padua: a Capriccio

Windsor Castle. Royal
Collections
Companion piece to no 338,
above

340 me 45X76
1756-57

St Mark's Square with the

Doge's Palace and the
Procuratie Nuove Dublin.
National Gallery of Ireland
A Constable [1962] rightly
refers this to the period after
Canaletto's return from England;
the present writer would suggest
just after his return to Venice.
B. A contemporary autograph
350A 351 352 121
 346ES8 68,5 106.51=
•

1760 E 351 H 3£ I Collectionwas on the market

1936 [Constable. 1962]
in convincing He believes
painted after Canaletto's return
it was [G B Omaroli], and because of
his authority (his guide was
The Entrance to the Grand The Doge's Palace: the toVenice and says. "It is an published in Canaletto's
Canal towards the West Courtyard from the First attempt unusual for its time, to lifetime), the collaboration has
Titsey Park, Surrey.
Gower Collection
Leveson Floor Loggia Cambridge.
Fitzwilham Museum 353 0S 28 '19
1760'
create a night scene
whirling brushstrokes divide the
The never been questioned, although
it seems impossible to recognise

The subject, which Canaletto Companion piece to no 350 A St Mark's Basilica at Night: light and create almost two hands in the painting
painted many times, is here with the same unusual and Interior Windsor Castle, theatrical contrasts The groups Watson, BM, 1953] It is,
treated in the manner of the effective framing of the view Royal Collections of figures and the statues on the however, possible that Canaletto
Bedford version (no 88 A) This is a splendid and unique iconostasis of St Mark's, which only did the drawing two or
(See also no 345 ) view of the basilica down the are rendered with such energy, three years before 1 761 the
,

north transept There has been create a great sense of living year in which the work was
69 '60,5
352E3S M760 -
I

great disagreement over its date movement that brilliantly already in England [Constable,

347E£ 5< 5C and occasion Parker [1 948] gloomy

I

68 106, reverberates in that 1962]

1760 E St Mark's Square towards thinks that it represents the nocturnal space underthe arches
The Entrance to the Grand the Basilica from the Good Friday service mentioned and domes of St Mark's
Canal towards the East
Titsey Park, Surrey. Leveson-
South-west Corner
Park, Somerset, Lord
Halswell
Wharton
in Smith's inventory under the
entry for another Interior of St
Canaletto still had the strength
to break with the patterns
355H® 13
iV^S:
Gower Collection Collection Mark's, also Windsor Castle
at imposed by his times . , His A Colonnade and Courtyard :

A For general information, see The stylistic evidence points to (no 321 ). more precisely, he lesson was not to be lost, even a Capriccio Venice, Gallerie
no 345. above A return to the the period after Canaletto's suggests it is the service (as in if it was a dead letter in Venice." dell'Accademia
subject of the youthful Windsor return to Venice This is the drawing at Windsor Castle A It is marked Anton ...

Castle painting (no 47 A) corroborated by a closely [no 7430]) performed on I 765'' Canaletto presented it to
99*145
B A fine version, formerly in the
Pierpont Morgan Collection,
related drawing formerly
Dodds-Crewe Collection
in the 7 February 1 733 in honour of the
relics ol the Doge San Pietro
354EKS '1761
the Venetian Academy
painting and sculpture on his
of

which reappeared at the 1 964 [Hadeln. 1 930], which can be Orseolo Hence he dates it to Bull Fight in St Mark's admission (see Outline
exhibition in Canada (Setterlee dated to 1760 The drawing Canaletto's youth, along with Square Italy, Private collection biography) A preparatory
Ingalls Collection 71 x 112 belonged to J Crewe, who other scholars, like Watson This was mentioned as early as drawing [Modigliani. D,
cm ) Constable [1964] dates visited Venice in 1 760 (see [BM. 1 948], who considers it a 1 761 as belonging to Bourchier 1924-5] isintheAlbertini
it toe 1735 Outline biography) Another funeral service, and Zampetti Cleeve. Foots Cray Place, in Collection. Rome
drawing, even more closely [CMV, 1967] Pallucchinis Dodsley s Guide Dodsley refers B A fine version (129 x 93,5
related from the Heseltine theory [ 1 960] is more it to Canaletti and Chimaroh" cm), in the Narodni Galerie,

06
348E3^76o I
The Rialto Bridge from the
North Titsey Park, Surrey,
Leveson Gower Collection
A See no 345, above
B Another version, in the
Johnson Collection,
Philadelphia (37 x 59,5 cm.)
It is not universally considered

autograph

349 H^ 6C '91.5
•1760

The Grand Canal from the

Rialto Bridge to Ca' Foscari
Boston, Fuller Collection
The authorship is controversial,
but it is very probably by
Canaletto A late treatment of a
subject painted in his youth (no
69 A) Companion piece to no
345 B

45 5 x 37
350 ESS •1760-

St Mark's Square from the

Portico of the Torre
deM'Orologio Cambridge.
Fitzwilham Museum
A Long ascribed to the school,
but Constable has rightly
attributed it to Canaletto's late

period [1962] Companion

piece to no 351
B A contemporary version
(74.3 X 57,8 cm), in the Musee
Smidt van Gelder, Antwerp
358
^1 362 366

-^MMrj*;

A
SL
122 363 364 365
Prague, was shown
exhibition of the Venetian
at the recent
eighteenth century in
Czechoslovakia [Safarik, AV,
1964]
C Another version (56 x 42
cm), in the National Loan
Collection Trust, London
D This version (65 x 47
in the Wallraf-Richartz-
Museum, Cologne, is of doubtful
authenticity
Constable [1962] mentions
other derivations, which are
either lost, not authentic, or
unavailable for examination
356 M & ££ §
The Harbour of St Mark's
towards the West Princeton,
Princeton University
A. The painting was done after
the restoration of the facade of
the Church of the Pieta, begun
in 1 745 This may be one of
Canaletto's last paintings,
unfinished after his illness and
death
B Another unfinished version,
but of uncertain authorship,
the Johnson Collection,
Philadelphia (33,5 x 49
63,5X100,5
357 ffl®
Seaport with a Volcano
Erupting
Signed "Giuseppe Guerra
AC" (see Workshop).
Canaletto's contribution
to have been limited to the
figures
1 962]
and boats [Constable,
But the painting is very
problematic because of the
question of the collaboration
with Guerra, who signed the
painting,and because this may
be the View of Corfu that
Canaletto painted in 1 726 (see
Outline biography) [Haskell,
BM. 1 956], in which case
Guerra's signature is
inexplicable
Other works
attributed to Canaletto
There have been many more
paintings attributed to Canaletto,
cm ). particularly in the years
following the Second World
War, when eighteenth-century
art, and Venetian view painting
enjoyed a boom on
in particular,
the market Listed below are
art
works that have been discussed
by scholars and connoisseurs
but whose attribution
remains an open question. We
have not included many works
that have been sold as
Canalettos on the authority of
reputable scholars, unless they
have published arguments for
their attributions
left
358B®
The Campo dell'Arsenale
Ottawa. National Gallery
This painting was ascribed
Canaletto until the
in
Exhibition 965 Together
in 1
with the three following works
cm )
(nos. 359—61 ), which were also
ascribed to Canaletto, Pignatti
[AV. 1 966] now attributes
Si the early career of Bellotto
(1 740-2), after a close stylistic
examination Pignattis
attribution was confirmed at the
I Venetian Exhibition of View
Painters (1967)
seems
359BS
The Piazzetta towards the
Torre dell'Orologio Ottawa,
National Gallery
For general information, see no.
358, above It is reminiscent of
Canaletto's painting at Windsor
Castle, dated 1 743 (no 220)
360HS
The Piazzetta towards the
South Ringwood, Hampshire,
Mills Collection
For general information, see no.
358, above was considered
It
apart from the two preceding
works (nos 358 and 359) and
was attributed [Constable, BM,
1929; until 1962] toc1730
from its relation to the view at
Windsor Castle (no 48) A
sketch, which is certainly by
Canaletto, is in the
Museum, Oxford [Constable,
OMD, 1 938; Byam Shaw and
Parker, 1 958], and is also
connected with it It may have
been used by Bellotto
361 m®
The Entrance to the Grand
Canal from the Piazzetta
Ringwood, Mills Collection
See nos. 358 and 360, above
362 S^
The Harbour of St Mark's
towards the West from the
Riva degli Schiavoni
Frankfurt, Stadelsches
Kunstinstitut
In the past there was much
doubt as to whether it should be
attributed to Bellotto [Fritzsche,
1 936, etc.] or Canaletto
Constable gives it to Canaletto
and dates it 1 730^10 [1 962]
But Pallucchini [Vedute del
Bellotto. 1961] convincingly
ascribes it to Bellotto, and says
he probably painted it about
1742
still
363 m® 39x49
The Venetian Lagoon with
Triumphal Arch: a Capriccio
Asolo. Museo Civico
The current attribution of this to
Bellotto,about 1 742, which was
corroborated by the Exhibition
151X122
of Masterpieces in Venetian
Museums [Pallucchini, 1946],
has been rejected by Constable
[1 962], who still ascribes it to
to Canaletto But his attribution,
Montreal which also covers the
companion piece (no. 364),
seems untenable. The Venetian
Exhibition of View Painters
[CMV. 967] tends to confirm
1
it to Bellotto's authorship
364 HS 39X49
The Venetian Lagoon with
Classical Ruins and a Statue:
a Capriccio Asolo. Museo
Civico
1 51 x 122 I
Companion piece
above
to no 363,
365H® 1 22.5X129.5F
The Islands of San
Cristoforo, San Micheleand
Murano from the
Fondamenta IMuove Windsor
Castle, Royal Collections
50X122 1
This painting has almost
unanimously been considered
youthful masterpiece of
a
Canaletto and dated 1 725-30
Watson [AV. 1 955], especially
attempted to reconstruct its
provenance, since it did not
arrive to Windsor Castle with
Joseph Smith's Collection He
thinks it is a companion piece to
no 366 with part of the top cut
off, and dates it about 1 725
Constable [1 962] does not
reject the attribution but
considers the two works
Ashmolean
independent Levey [1 964],
who has considered the work's
provenance and analysed its
stylistic qualities, is doubtful
about its authenticity and
suggests that it is a copy of a
lost original or, more probably,
150X122 |
a pastiche by an imitator of the
view of Murano now in the
Hermitage (no 254) This
hypothesis has been vigorously
rejected by Morassi [AV. 1 966]
366 H^ 46X136.5F
77X97
The Grand Canal towards the
Church of the Salute
Windsor Castle, Royal
Collections
As no. 364 (q.v), Levey [1 964]
rejects the attribution to
Canaletto, but Morassi [AV.
1966] disagrees
123

Indexes
Listed here are thenames ol the
places and chiel monuments
which are traditionally given as
the titles ol Canaletto s
paintings The same places
monuments inevitably
depicted in more than one
painting The various versions
can easily be found in the
following list
Index of subjects
and titles
Arch Constantine 2. 204
of
with the Colosseum 212
Aich of Septimius Severus 1
205. with the Church of
Santi Martina e Lucca.
Rome 21 3
Arch 206
of Titus
Arsenal Bridge 100
Bacino di San Marco, see
Harbour of St Mark's
Badminton House from the Park
278
Badminton Park from the House
279
Basilica of St Mark s. see St
Mark s Basilica
Brenta at the Portello of Padua
209 A 209 B
Bucintoro at the Quay on
Ascension Day 1 74 A.
174B. 249, 256
Bucintoro Leaving the Quay on
Ascension Day 107 A
1 07 B. 1 67
Bucintoro Returning Quay
on Ascension Day 32 67 A
67 B. 67 C. 67
109B. 232
Bull Fight in St Mark
354
Campo dei Gesuiti
Campo dell Arsenate
Campo di Rialto 229 A 229 B
229 C
Campo San Francesco
Vigna 129 A. 129 B
Campo San Geremia 1 23
Campo San Giacometto 62 344
Campo San Polo 1 26
Campo San Salvatore 1 27
Campo Santa Marghenta 1 25
Campo Santa Maria Formosa
101 A. 101 B. 101 C
Campo Sant Angelo 1 22
Campo Santi Apostoh
Campo Santi Giovanni e Paolo.
with the Colleoni
Monument 193 A 193 B
246 A. 246 B
Campo Santo Stefanin 66
Campo Santo Stefano 102
Canals, see under their
Cannaregio 103 A. 103 B
Ca' Pesaro 333
Capitol Square and the
Cordonata Rome 299
Capricci Church of San
Francesco della Vigna.
Venice 241 Church of San ,
Giorgio Maggiore 222
Church of San Giorgio
Maggiore and the Rialto
Bridge 269. Church. Round
Domed 298. Church
Ruined, and the Colleoni
Monument 309. Classical
Motifs 337 A. 337 B. 337 C,
Classical Ruins,
Classical Ruins
Building 325; Classical
Ruinsand Parii.an Motifs
338 Colonnade and
124
Courtyard 355 A. 355
355 C. 355 D. Convent
the Carita Venice 225;
English Landscape and
Architectural Motifs 307,
Horses of St Mark
Farm. Portal and Washing
and Pool 328 Island of the
are Venetian Lagoon and a
Church 197. Island of the
Venetian Lagoon and Motifs
from the Church of San
Francesco della Vigna
1 96. Librena and other
Buildings. Venice 239;
London Architectural
Motifs 301 Padua, Motifs
of 336 A, 336 B 336
Palace Bridge and Obelisk
in Background 310 A,
the
310 B Peschena Bridge and
Buildings on the Quay 224
Prisons of Venice 227
Quay and St Mark s Square.
Motifs of 223. Renaissance
and Gothic Buildings and
Church 272 Renaissance
Palace and Roman Arch
270; Rialto Bridge after
Palladio's Design 226.
Rialto Bridge after
Palladio's Design with
St Mark s Basilica
view of Palazzo Chiencati.
Vicenza 330 River with
Eton College Chapel 305,
River with Palace Church
and Ruins 329 Roman
Antiquity and English
Landscape, Motifs
308 Roman Rums and the
Colleoni Monument,
Venice 240, Rome
Colleoni Monument,
Venice 1 6, Scala dei Giganti
to the 238, Scuola di San Marco
and the Church
D. 109 A. Giovanni e Paolo, Motifs of
316 A 316 B, Staircase
s Square Triumphal Arch from a
Loggia 31 7 Triumphal Arch
Iriim the Portico of a Palace
1 24 271 Venetian Lagoon with
82 358
1 Arch and Church 1 99.
a Festival at the Arzere di
Venetian Lagoon with
Castle on a Bridge 327.
della Venetian Lagoon with
Church and Column 200.
Venetian Lagoon with
Classical Ruins 31
314 B. 314 C.Venetian
Lagoon with Classical
Ruins and Statue 364
Venetian Lagoon with
House. Church and Bell
Tower 324 A. 324 B.
1 28 Venetian Lagoon with Oval
Church 268 Venetian
Lagoon with Tomb 320 A.
320 B, Venetian Lagoon
with Triumphal Arch 363
1 Venetian Lagoon with
Triumphal Arch and Gothic
names Building 326. Vicenza and
Rome Motifs of 294 A,
294 B Villa, Church and
Column with a Statue 31
Chelsea College with Ranelagh
House and Rotunda 289
the
Church of the Redentore 1 04 A,
104 B 258
Church of the Salute and
Customs House from near
Palazzo Cornaro 54
Church of Santi Giovanni e
Paolo with the Scuola di
San Marco 18. 22 A, 22 B.
1 1 A. 1 1 B Campo San
Church San Geremia and the
of
4. 5, 1 5. Entrance to Cannaregio
and a Gothic 64 A. 64 B. 64 C
Church of San Giorgio from the
Harbour of St Mark s 1 08.
from the Giudecca Canal 40
; 1 B .
B. Church San Giovanni dei
of
of Battuti,Murano, with
Venice in the Background
255
Church of San Nicolo di Castello
s 221 131
Church of San Pietro di Castello
1 77 A, 177 B
Church of San Salvatore. Venice
233
Church of Santa Maria Zobenigo
1 30 A 130
Church and School of the Carita
from the Marble Workshop
ofSan Vitale 33
Colosseum 216. withthe Arch
of Constantine 21 8
C. 339 Customs House and the
Giudecca Canal 37
Customs House Point 38.
189B
Dogana, see Customs House
Doge Visiting the Church of San
Rocco 46 1 Vendramin Calergi 97, from
Doge s Palace. Facade 184
Doge s Palace Courtyard from
the First Floor Loggia 351
DoloLocks60A 60 B
Entrance to Cannaregio with the
Church of San Geremia
and a 176 A 176
Entrance to the Grand Canal
from the Piazzetta 47 A,
47 B 47 C. 361. from the
Quay. End of 142 A 142 B
142 C. towards the East
347 A. 347 B towards the ,
of West 346 with the Church
of the Salute 23 A. 23 B. 73.
88 A. 88 B 151 160. 237 A.
with the 237 B. 237 C. withthe
Church of the Salute towards
the East 173. 251. withthe
Customs House 71 with 1 .
of Santi the Customs House and the
Church of the Salute 44 A
and 44 B. 70 A. 70 B, 70 C,
70 D 1 35 A 135 B
Eton College Chapel. Windsor
313
Marta231
Festival at Night at theChurch
of San Pietro di Castello
230 A. 230 B
Fish Market 47 B
2. 31 4 A Fondamenta Nuove and the
Church of Santa Maria del
Pianto335
Fonteghetto della Farina 1 62 A.
162B
French Ambassador Being
Received at the Doge s
Palace 31
Grand Canal at Santa Chiara
towards the Lagoon 78 A.
78 B from Ca Foscari
towards the Church of the
Carita 71 A, 71 B, 71 C.
from Ca da Mosto to the
Rialto Bndge118A. 118
118 C, from Campo della
Carita towards Palazzo
Venier della Torresella 115;
from Campo Santa Sofia to
the Rialto Bridge 228 A
228 B from Campo Santa
Sofia to the Church of San
Marcuola 1 79. from Campo
San Vio12 A, 12 B. 112 A,
112 B. 112C. 112 D. 252.
from Campo San V10 near
the Rialto Bridge
V10 towards the
Church of the Salute 72 A,
72 72 C. 72 D; from
B.
Campo San V10 towards the
East 57, from Ca' Pesaro to
the Church of San
Marcuola 1 78. from Ca
Pesaro to the Fondaco dei
Tedeschi 95. from Ca'
Rezzonico to Palazzo Balbi
91 A. 91 B; from the Church
of San Simeone Piccolo to
Cannaregio 1 69; from the
Church of San Stae to the
Fabbriche Nuove di Rialto
120 A, 1 20 B. from the
Church of Santa Croce to
the Church of San Geremia
98. 114 from the Church of
the Scalzi to Cannaregio
1 21 from the Church of the
, Imperial
Scalzi towards the
Fondamenta della Croce
with the Church of San
Simeone Piccolo 1 70 A
170 B from Palazzo Balbi
1 89 A 42 A. 42 B. 42 C. 42 D,
from Palazzo Balbi to the
Rialto Bridge 93 A, 93 B
93 C 93 D from Palazzo
Bembo to Palazzo
Palazzo Contarint dagh
Scrigni to Ca Rezzonico
90 A, 90 B from Palazzo
Cornaro to Palazzo
Contanni dagh Scrigni 89 A
89 B from Palazzo Corner
79, Spinelli to the Rialto Bridge
92, from Palazzo Flangini
towards San Marcuola 83 A,
83 B, from Palazzo Grimani
to Ca' Foscari 248 from
Palazzo Michiel dalle
Colonne to the Fondaco
Tedeschi 119 A. 119 B.
from Palazzo Tiepolo to Ca
Foscari 1 1 6, from Palazzo
Vendramin Calergi to
Palazzo Fontana 96, from
Palazzo Vendramin Calergi
to Palazzo Michiel dalle
Colonne 46 A 46 B. from
Palazzo Vendramin Calergi
towards San Geremia 76.
from the Rialto Bridge to
Ca Foscari 69 A. 69 B. 69 C
69 D. 117. 172. 349. from
the Rialto Bridge towards
Ca' Foscari 1 38. from near
Santa the Rialto Bridge towards
the North 55. 75 A. 75 B.
75 C, 253, towards the
Church of the Salute 366
with the Church of San
Simeone Piccolo towards
the Fondamenta della
Croce 77 with the Church
of the Carita towards the
Harbour of St Mark s 21
41 A. 41 B. with the Church
of the Salute and the
Customs House from
Campo Santa Maria
Zobenigo 134 A, 134 B.
134C. 134D. 134 E with
the Fabbriche Nuove from
near the Rialto Bridge
19 9 C. withthe Rialto
B. 1 86 A. 86 B. 86 C. 86
Bridge from the North 56.
74, 153 A. 153 B.
B. Rialto Bridge from Palazzo
Corner Spinelli 1 7 with the
Rialto Bridge from the
South 137
Grand Walk. Vauxhall Gardens.
London 287
Greenwich Hospital. London,
from aero the Thames
275 A. 275 B
Harbour of St Mark's from the
Giudecca Canal 244, from
1 3. from the Piazzetta 1 52 A. 152 B;
from the Riva degh
Schiavoni 1 64. from the
Riva degli Schiavoni
towards the West 1 58,
341 A. 341 B, 362. towards
the East 161 A. 161 B. 163.
towards the West
356 A. 356 B; withthe
Customs House from the
Giudecca Point 36 A. 36 B.
36 C. with the Island of San
Giorgio from the Piazzetta
26 A. 26 B. 34 A. 34 B
Henry VII s Chapel. Westminster
Abbey; Interior 276 A.
276 B
Imaginary Funerary Monument,
for Archbishop Tillotson 1 0,
for Lord Somers 9
Ambassador Being
Received at the Doge's
Palace 61
San Giorgio with the
Island of
Customs House from the
Entrance to the Grand Canal
43
Island ol San Michele with
Venice in the Background
306
Islands of San Cnstoforo. San
Michele and Murano from
the Fondamenta Nuove
254. 365
King's College Chapel,
Cambridge Interior 277
Landscape with Ruins and a
Renaissance Building 6
Loggetta of Sansovino 145
London through an Arch of
Westminster Bridge 265
London and the Thames from
dei Richmond House 260
Marghera Tower 1 98
Molo. see Quay (of St Mark's)
New Horse Guards from St
James's Park 296 A, 296 B
Northumberland House. London
297
Old Horse Guards from St
James's Park 281
Old Horse Guards and the
Banqueting Hall. London,
from St James s Park 280
Old Somerset House from the
Thames 292
Old Walton Bridge 302. 31 5
Palazzo Corner della Ca' Grande
331
Palazzo Grimani 332
Palazzo Vendramin Calergi 334
Pantheon 207
Piazza Navona. Rome 215
Piazzetta towards the Island of
San Giorgio 45. 48. towards
the Island of San Giorgio
with View of the Basilica
and the Doge s Palace 65.
towards the Quay. 1 88,
towards the South 1 39 A,
1 39 B. 1 39 C. 360; towards
1 9 A, the Torre dell'Orologio 52,
D. 359;
towards the Torre
withthe dell'Orologio from the
Librena to the Doge s
Palace 220. with the Doge's
Palace and the Loggetta,
View of 181 with the
.
Librena of St Mark's towards
the West 1 1 1, 186 A. 1 86 B,
186C
Prato della Valle, Padua, with
the Churches of Santa
Giustina and the
Misencordia210A, 210 B.
210C
Prisons 257
Punta della Dogana, see
Customs House Point
Quay of St Mark's and the Riva
degli Schiavoni from the
Harbour of St Mark's 35.
1 92. from the Harbour of St
 Marks 87 A, 87 B. 87 C,
87 D. 132 A. 132 B, 1 32 C,
250, 274 A. 274 B; with the
Doge's Palace and the
Paglia Bridge 27; with the
Doge s Palace and the
Prisons towards the West
219: with the Doge's
Palace. Right Side of 24. 66
with the Doge's Palace
towards the Church of the
Salute 82 A, 82 B; with the
Doge's Palace towards the
West 180 A, 1 80 B, 245 A
245 B. with the Librena and
the San Teodoro Column
towards the West 1 44 A
144B. 144 C, 345 A,
345 B; with the Librena on
the Right and the Church of
the Salute towards the Left
80, with the Librena towards
the West 1 54
Quinnal Palace, Rome 214
Riva degli Schiavoni 25 towards
the East 143 A, 143 B, 156
247 A, 247 B, 343; towards
St Mark's 39 A, 39 B.
towards the West, 59, with
the Doge's Palace towards
the East 81
Rialto Bridge from the
Fondamenta del Vin 53,
from the North 191 A,
191 B, 348 A, 348 B. from
the South 58, 94 A. 94 B,
147 A, 147 B. 147 C, 242 A,
242 B. 242 C, with Palazzo
dei Camerlenghi 20
Rio dei Mendicanti 1 4 A, 1 4 B,
14C
Roman Forum with the Basilica
of Constantine and the
Church of Santa Francesca
Romana217
A, 21 7
Rotunda, Ranelagh: Interior
303A, 303 B
Roman Forum. Ruins of, with
the Capitol in the
Background 201 A. 201 B.
203
St John Lateran Square. Rome
211
St Mark's Basilica: and the
Doge's Palace from the
Procuratie Vecchie 141
187; Interior 321. 322.
Interior at Night 353; and a
View of Palazzo Chiencati.
Vicenza 330
St Mark's Square from the
Basilicatowards the Church
of San Geminiano 1 57 A,
157 B. 185 A. 185 B;from
the Basilica towards the
Church of San Geminiano
and the Procuratie Nuove
85 A. 85 B, 136 A, 136 B,
from Campo San Basso 342;
from the Librena to the
Basilica towards the West
235: from the Librena to the
Loggetta 1 49, 295; from the
Piazzetta towards the
Procuratie Vecchie
148 B; from the Portico of
the Torre dell'Orologio
350 A,350 B towards the
.
Basilica 63, 84 A, 84 B.
84 C, 84 D, 155 A, 155 B.
165 A, 165B, 243 A, 243 B
243 C; towards the Basilica
from the North-west Corner
31 9, towards the Basilica
from the Procuratie Nuove
49 A. 49 B. towards the
Basilica from the South-west
Corner 31 8. 352, towards
the Church of San
Geminiano from the
Piazzetta 50 towards the
Librena between the
Basilica and the Church of ALLENTOWN BADMINTON HOUSE BOWHILL (SELKIRK)
San Geminiano 1 33 A, (PENNSYLVANIA) (GLOUCESTERSHIRE) Duke of Buccleuch's
133 B, towards the Art Museum Duke of Beaufort's Collection Collection
Procuratie Nuove with a Piazzetta. with a View of the Badminton House from the Whitehall and the Privy Garden
View of the Church of San Doge's Palace and the Park 278 towards the North 288
Geminiano 1 59, towards the Loggetta 181 Badminton Park from the House
Procuratie Vecchie from the 279 BRYNKINALLT
ALNWICK CASTLE (DENBIGHSHIRE)
Basilica 51 towards the
,
Torre dell'Orologio 1 40 A,
(NORTHUMBERLAND) BALTIMORE (MARYLAND) Lord Trevor Collection
Duke of Northumberland's Museum of Art Grand Walk, Vauxhall Gardens.
140 B. with the Basilica
Collection The Venetian Lagoon with London 287
with the Basilica,
11 A, 11 B,
Northumberland House, London Classical Ruins a Capriccio The Ranelagh Rotunda Interior
the Doge's Palace, the
297 314B 303 B
Loggetta and the Campanile,
St Mark s Square from the
Views of 183, with the BASINGSTOKE
Libiena to the Loggetta 295 CAMBRIDGE
Basilica, view of, and the
(HAMPSHIRE)
The Scala dei Giganti in the ( ?) Fitzwilliam Museum
North-east Side 190 A, 1 90 B
Doge's Palace 323 B Earl of Malmesbury's The Doge's Palace Courtyard
with the Basilica, view of,
View of Alnwick Castle. Collection from the First Floor Loggia
towards the South 236, with
Old Horse Guards from St
Northumberland 222 B 351
the Doge s Palace and the
James's Park 281 St Mark s Square from the
Procuratie Nuove 340 A, ALTON (HAMPSHIRE)
Viscount Hampden's Portico of the Torre
340 B, with the Torre BATSFORD PARK dell'Orologio 350 A
Collection
dell'Orologio 1 50 A, 150 B Dulverton Collection
The Grand Canal from Palazzo
St Paul's Cathedral, London 300
Cornaro to Palazzo Contarmi
Grand Canal from Campo Santa CAMBRIDGE
Santa Chiara Canal at the Sofia to the Rialto Bridge (MASSACHUSETTS)
dagli Scugni 89 B
Fondamenta Croce
della 228 B Fogg Art Museum
Piazzetta with the Liber ena
99A, 99 B 99 C. 113 St Mark s Square towards the
Scala dei Giganti in the Doge's
towards the West 1 1 BERGAMO
Basilica 1 65 A
Galleria dell'Accademia
Palace 323 A. 323 B. 323 C AMSTERDAM Carrara
Scuola di San Rocco 1 05 A, Rijksmuseum (CANADA)
Grand Canal from Ca da Mosto Setterlee Ingalls Collection
105B Rialto Bridge from the North
'
to the Rialto Bridge 1 1 8 B Entrance to the Grand Canal
Scuola di San Teodoro 234 191 B
Grand Canal from Palazzo Balbi towards the East 347 B
Seaport with a Volcano ANGLESEA ABBEY 42 B
Erupting 357 (CAMBRIDGE) Sangster Collection
Self-portrait 259 Lord Fairhaven Collection Private collection View of Mestre 94 A 1
Capitol Square. Rome 299 A, Self portrait 259 Arch of Septimius Severus 1
299 B, 299 C CARDIFF (WALES)
Study of Figures 28, 29, 30
ANTWERP BERLIN National Museum of Wales
Musee Smidt van Gelder Gymnasium zum grauen Harbour of St Mark s with the
St Mark s Square from the Kloster
Temple of Antoninus and Customs House from the
Portico of the Torre Campo di Rialto 229 A
Faustina, Rome 202 A Giudecca Point 36 A
dell'Orologio 350 B Grand Canal from Campo Santa
202 B
Thames, the from the Terrace of ARTRAMONT (WEXFORD) Sofia to the Rialto Bridge CASTAGNOLA (LUGANO)
Neave Collection 228 A Thyssen Foundation
Somerset House with the
Motifs of the Scuola di San Festival at the Arzere of Santa Grand Canal from Campo San
City in the Background
285 A. 285 B. from the Marco and the Church of Santi Marta 231 Wo 1 2 A
Giovanni e Paolo: a Capriccio Festival at Night at the Church St Mark s Square with the
B Terrace of Somerset House
with Westminster Bridge in 316A of San Pietro di Castello 230 A Basilica 1 1 A
the Background 286 A Entrance to the Grand Canal
with the Chuich of the Salute Staatliche Museen CHICAGO (ILLINOIS)
286 B. from York Water Epstein Collection
Gate towards Westminster 237 B Gemaldegalerie Dahlem
Church of the Salute and the Venetian Lagoon with Classical
Bridge 264 A. 264 B; The Quay with the Doge's
Customs House near Palazzo Ruins a Capriccio 314 A
towards the City with St Palace towards the West 245 A
Cornaro 54 CHILBOLTON
Pauls Cathedral in the The Quinnal Palace. Rome 214
The Quay with the Doge's
Background 262; with The Doge's Palace. Facade 1 84 (HAMPSHIRE)
Capitol Square and the
Palace towards the Church of Parrington Collection
Westminster Bridge in the
the Salute 82 A Grand Canal from Ca Pesaro to
Background 263 Cordonata, Rome 299 B '
Piazza Navona. Rome 21 5 the Church of San Marcuola 1 78
Tower of Marghera. see BIRMINGHAM
Marghera Tower St Mark s Square with the Torre (ALABAMA)
.
CINCINNATI (OHIO)
dell'Orologio 1 50 B Museum of Art Art Museum
View of the Brenta near Padua The Piazzetta with the Libreria Grand Canal from Palazzo Arch of Septimius Severus with
208; of Alnwick Castle, of St Mark 's to wards the West Vendramm Calergi to Palazzo the Church of Santi Martina e
Northumberland 293 A, 186 A Michiel dalle Colonne 46 A Luca. Rome 21 3
293 B; of Dolo 1 95 A, ARUNDEL CASTLE Grand Canal with the Church of
195B,of Mestre194 A, (SUSSEX) BIRMINGHAM the Salute and the Customs
194 B.of Syon House,
Duke of Norfolk's Collection (WARWICKSHIRE) House from Campo Santa
Middlesex 282; of Rome 7,
Triumphal Arch from the
Barber Institute of Fine Arts
Maria Zobenigo 34 C 1
Roman, imaginary 3, 8 L oggetta of Sansovino 1 45
Portico of a Palace a Capriccio
271 COLOGNE
Warwick Castle, East Front
Renaissance and Gothic BLOOMFIELD HILLS Wallraf-Richartz-Museum
291 A, 291 B
Buildings and Church a (MICHIGAN) Colonnade and Courtyard a
Warwick Castle, South Front Booth Collection Capriccio 355 D
Capriccio 272
290 A, 290 B, 290 C The Quay from the Harbour of St Mark s Basilica and the
Westminster Abbey with the Doge's Palace from the DETROIT (MICHIGAN)
St Mark's 87 D Institute of Arts
Procession of the Knights of Procuratie Vecchie1 87
Renaissance Palace and Roman St Mark s Square from the
the Order of the Bath 283
Arch a capriccio 270 Basilica towards the Church of
Westminster Bridge 304, with Museum of Cranbrook
1 48 A Lambeth Palace in the ASOLO Academy of Art San Geminiano 1 57 B
Background from the Museo Civico St Mark Square with Views of
s
DRESDEN
North 284 A, 284 B.from Venetian Lagoon with Classical the Basilica and the Doge's
Gemaldegalerie
the North 267. Being Built Ruins and a Statue a Capriccio Palace, the Loggetta and the
Campo San Giacometto 62
266 364 Campanile 1 83 Church of SS Giovanni e Paolo
Whitehall and the Privy Garden Venetian Lagoon with Triumphal
with the Scuola di San Marco 1
from Richmond House 261 Arch: a Capriccio 363 BOSTON (MASSACHUSETTS! Entrance to the Grand Canal
towards the North 288 Alvan Fuller Collection with the Church of the Salute
Windsor Castle. Panorama 273
ASTBURY HALL Grand Canal from the Rialto
(SHROPSHIRE) 23 A
Bridge to Ca' Foscari 349 Grand Canal from Campo San
Jenks Collection
The Quay with the Librena and VioMB
The Quay with the Librena and
Topographical index the San Teodoro Column
the San Teodoro Column Giand Canal with the Rialto
towards the West 345 B Budge from Palazzo Coiner
towards the West 1 44 B
ALBURY PARK (SURREY) Spinelli 1 7
Duke of Northumberland's ATHENS Museum of Fine Arts
Collection Private collection Fonleghetto della Fauna 1 62 B DUBLIN
View of Alnwick Castle. Festival at Night at the Chuich Harbour of St Mark s towards the National Gallery of Ireland
Northumberland 293 A of San Pietro di Castello 230 B East 1 61 A St Mark s Square with the
125
 Doge s Palace and the Church of San Geremia and the HILLBOROUGH Clifford Curzon Collection Collection of the Princess
Procuratie Nuove 340 A Entrance to Cannaregio 64 B (THETFORD) St John Later an Square Rome 211 Royal
Imaginary Fujierary Monument Mills Collection River with Eton College Chapel
ELPASO (CALIFORNIA) Dulwich College Picture
to Archbishop Tillolson 1 Grand Canal Irom Ca Rezzonico a Capnccio 305
Museum of Art Gallery
Customs House Point 1 89 B to Palazzo Balbi 91 B Private collections
The Quay with the Doge's Bucintoio Returning to the Quay
Boat Race on the Grand Canal Grand Canal Irom the Rialto Ca Pesaro 333
Palace towards the Church of on Ascension Day 232
68 B. 175 Bridge to Ca Foscan 69 C Church ol the Redentore 258
the Salute 82 B Old Walton Bridge 302
The Bucintoro Returns to the Church of San Giorgio Irom the
Quay on Ascension Day 67 C
HOLKHAM HALL Embiricos Collection
EUSTOIM HALL (NORFOLK) Harbour of St Mark s 1 08
Lord O'Neill Collection Harbour ol St Mark s towards Customs House Point 89 A 1
Earl ofSandwich's Collection Earl of Leicester's Collection
the West 1 92 Grand Canal Irom Campo San
Palazzo Corner delta Ca Grande Bucintoro at the Quay on
Temple of Antoninus and
331 Ascension Day 1 74 B Property of William Vio 1 1 2 C
Faustina. Rome 202 B
Grand Canal from Campo San Hallsborough The Piazzetta towards the Quayl 88
FLORENCE Saumarez Collection Classical Ruins and a Gothic Prisons 257
Vio towards the East 57
Galleria degli Uffizi Classical Motifs a Capnccio 337 C Building a Capnccio 325 The Quay from the Harbour of St
Rialto Bridge Irom the South 58
Grand Canal Irom Palazzo Balhr Venetian Lagoon with Triumphal Mark s 1 32 B
42 C Wilmot. Arthur, Trustees of HOUSTON Study of figures 28. 29. 30
(TEXAS) Arch and a Gothic Building
Venetian Lagoon with a House. Old Horse Guards and the
Museum of Fine Arts a Capnccio 326 View of the Brenta near Padua 208
Church and Bell Tower a Bangueting Hall. L ondon.
Grand Canal from the Rialto
Capnccio 324 A Irom St James s Park 280 Joel Collection Queen's Gallery,
Bridge to Ca Foscan 69 B
Venetian Lagoon with a Tomb Guild Canal from Campo San Buckingham Palace
GRENOBLE Entiance to the Grand Canal
Vio252 Convent of the Canta. Venice
a Capnccio 320 A
Musee de Pemture et de with the Customs House and
Grand Canal from near the a Capnccio 225
The Quay Irom the Harbour of the Church of the Salute 70 B
Sculpture Rialto Bridge towards the St Mark s Square from the
St Marks 87 B
Entiance to the Giand Canal North 253 Librena to the Basilica
INDIANAPOLIS
FRANKFURT with the Customs House and
John Herron Art Museum towards the West 235
Stadelsches Kunstinstitut the Church ol the Salute 44 Leggatt Collection
A The Piazzetta towards the South Church of the Redentore 04 B Railing Collection
Harbour ol St Mark s towards the 1

HADDINGTON 139C George Leon Collection The Quay with the Librena and
West from the Riva degli
Schiavoni 362 Duke Hamilton and
of ITALY (Executors) San Teodoro Column towards
Brandon's Collection Private collections Giand Canal Irom Palazzo Balbi the West 1 44 C
GENEVA The Thames with Westminster Bull Fight in St Maik s Square 354 to the Rialto Bridge 93 B Riva delgi Schiavoni towards the
Lyon Collection Budge in the Background Campo Santa Maria Formosa East 1 43 B
Lindsay-Fynn Collection
Entrance to the Grand Canal from the Terrace ol Somerset 101 C Churchol San Pietio di Castello
with the Church ol the Salute House 286 B Sabin Collection
Church ol San Geremia and the 177B
160 Campo dell' Arsenate 1 82
THE HAGUE Entrance to Cannaregio 64 C
Grand Canal with the Rialto London Museum
Thurkow Collection Motifs of Vicenza and Rome a Samuel Collection
Bridge from the North 1 53 B Henry Vll's Chapel Westminster
Harbour Mark s with the
ol St Capnccio 294 A St Mark's Sguare towards the
Abbey Interior 276 B
GOODWOOD (SUSSEX) Island of San Giorgio from the Scuola di San Rocco 05 B 1

Lord Lucas and Dingwall

Librena between the Basilica
Duke of Richmond and Piazzetta 26 A KANSAS CITY and the Church of San
Gordon's Collection Collection Gemimano 33 B 1

HAMBURG William Rockhill Nelson The Quay with the Doge's

Grand Canal from near the Gallery of Art
Kunsthalle Palace towards the West 1 80 A Skrine Collection
Rialto Bridge towards the
Molds ol Padua a Capnccio 336 A St Mark s Square towards the Old Walton Bridge 31 5
North 55 Lyons Collection
Torre dell'Qrologio 1 40 A
Giand Canal with the Rialto HALSWELL PARK Church of Santi Giovanni e Paolo Soane Museum
Bridge Irom the North 56 LEIPZIG with the Scuola di San Marco Rialto Bridge from the North
(SOMERSET)
London and the Thames from Lord Wharton Collection Museum der bildenden 22 B 191 A
Richmond House 260 Kunste Grand Canal with the Fabbnche Riva degli Schiavoni towards St
St Mark s Sguare lowaids the
Whitehall and the Privy Garden Island of the Venetian Lagoon Nuove from the Vicinity of the Mark's 33 B
Basilica from the South west
from Richmond House 261 Corner 352 ami Motifs ol the Church of Rialto Budge 19 B St Maik s Square with View of

San Francesco delta Vu/na a the Basilica and the North east -

GREAT BRITAIN Martin Collection

HAMPSHIRE Capnccio 1 96 Arch of Constanlme with the
Side 1 90 B
(VARIOUS LOCATIONS) Buxton Collection Island ol the Venetian Lagoon Speelman Collection
Bacon Collection Colosseum 21 2
New Horse Guards from St and a Church a Capnccio 1 97 The Piazzetta towards the South
Cannaregio 1 03 B James's Park 296 A Matthiesen Property ( ?)
LENINGRAD Church of Santi Giovanni e
139B
Paolo
Bryant Collection The Piazzetta towards the Torre
HAMPTON COURT Hermitage with the Scuola di San Marco
Motifs of Roman Antiguily and (MIDDLESEX) Chinch 110A
dell Orologio 86 C
of San Giovanni dei
English Landscape a Capnccio St Mark s Square towards the
Royal Collections Battuti Murano. with Venice National Gallery
308 Colosseum with the Arch of m Basilica 1 55 B
lire Background 255 Bucintoro Leaving the Quay on
English Landscape and Venetian Lagoon with a Castle
Constanlme 21 8 French Ambassador Beuu/ Ascension Day 1 67
Architectural Motifs a on a Bridge a Capnccio 327
Received at the Doge s Church ol San Pietro di Castello
Capnccio 307 HAMSTEAD MARSHALL Palace 31 177 A Stuart Collection
(BERKSHIRE) San Cnstoforo San
Islands of
Chatsworth Settlement and Church and School ol the Canta Rialto Bridge from the South
Craven Collection
the Devonshire Collection. Michele and Murano from the Irom the Maib/e Woikshop ol 147C
Grand Canal with the Church of
Trustees of Fondamenta Nuove 254 San Vitale 33 Wallace Collection
the Salute and the Customs
Rialto Bridge from the
Entrance to the Grand Canal
House horn Campo Santa Doge Visiting the Church of San Entrance to the Grand Canal
from the Piazzetla 47 C Fondamenta del Vin 53 Rocco 146 horn the End of the Quay
Maria Zobenigo 34 A 1

Riva degli Schiavoni towards the Entrance to Cannaregio with the 142C
St Mark s Sguare towards the LOCKINGE (BERKSHIRE)
West 59 Librena between the Basilica Lloyd Collection Church ol San Geremia 1 76 A Grand Canal towards the Church
and the Church of San Palazzo Vendramm Calergi 334 Eton College Chapel. Windsor 31 3 of the Canta from Ca' Foscan
Kleinworth Collection
Gemimano 33 A Grand Canal from the Church of 71 B
Henry Vll's Chapel, Westminster 1

Budge from the South 47 A

Rialto
LONDON the Scalzi toward the Giand Canal Irom the Church ol
Abbey Interior 276 A 1

Lord Astor of Hever Fondamenta delta Croce with San Simeone Piccolo to
National Trust HARTFORD Collection the Church ol San Simeone Cannaregio 1 69
Chelsea College with Ranelagh (CONNECTICUT) South Fiont of Warwick Castle Piccolo 1 70 A Giand Canal from Palazzo
House and the Rotunda 289 Wadsworth Atheneum 290 C Ranelagh Rotunda Interior Flangini towards San
Landscape with Ruins and a 303 A
Bisgood Collection Maicuola 83 A
Duke of Northumberland's Renaissance Building 6 Palazzo Gnmani 332
Rialto Budge from the South Harbour ol St Mark s towards the
Collection St Mark s Sguare with View ol Regatta on the Grand Canal
242 B East 1 63
Panorama ol L ondon through an the Basilica and the North-east 106B. 168
St Mark's Sguare towards the Harbour of St Mark s from the
Arch of Westminster Budge Side 1 90 A St Mark s Square towards the
Basilica 243 A Riva degli Schiavoni 1 64
265 Basilica from the North west
Panoiama of Windsor Castle2T3 HAVANA (CUBA) Lord Brownlow Collection Corner 319
The Quay with the Doge's
Museo Nacional (or Private Palace towards the West 245 B
View of Syon House. Middlesex Campo Santi Giovanni e Paolo St Mark's Square towards the
collection) Rialto Bridge Irom the South
282 with the Co/leoni Monument Basilica from the South west
Chelsea College with Ranelagh 94 B
Westminster Bridge Being Built 246 A Coinei 31 8
House and the Rotunda 289 Riva degli Schiavonr towards the
266 Prato delta Padua, with
Valle. National Loan Collection East 241 A
the Churches of Santa
Private collections HERON COURT Trust St Mark s Square Irom the
Grand Canal from the Rialto Giustina and the Miserrcordia Colonnade and Courtyard a Basilica towards the Church of
Earl of Malmesbury's
Budge to Ca' Foscan 69 D Collection 210A Capnccio 355 C San Gemimano and the
Grand Canal toward the Chinch Harbour ol St Mark with the
s Burns Collection National Maritime Museum Procuratie Nuove 36 B 1

of the Salute fiom Campo San Customs House from tin: Greenwich Hospital. London Greenwich Hospital. London. Santa Chiara Canal at the
Vio 72 B, 72 C Giudecca Point 36 C Irom across the Thames 275 B Irom across the Thames 275 A Fondamenta delta Croce 99 B
126
Ward Collection
Campo di Rialto 229 B
Scuola di San Teodoro 234
Warde Collection
Grand Canal from Palazzo Balbi
42 D
Westminster Abbey
Westminster Abbey with
Procession of the Knights of
the Order of the Bath 283
Wharton Collection
Grand Canal from Ca' da Mosto
to the Rialto Bridge 1 1 8 C
LONDON (?)
Douglas-Pennant Collection
The Thames from York Water
Gate towards Westminster
Bridge 264 B
Lady Dupree Collection
Motifs of Padua a Capriccio
336 B
Lord Egerton of Tattoo's
Collection
The Quay with the Librena on
the Right and the Church of
the Salute towards the Left 80
Riva degh Schiavoni with the
Doge's Palace towards the
East 81
Hall Collection
Venetian Lagoon with an Arch
and a Church a Capriccio 199
Venetian Lagoon with a Church
and a Column: a Capriccio 200
Korda Collection
Entrance to the Grand Canal
with the Customs House
Brian Mountain Collection
Motifs of the Scuola di San
Marco and
Church of Santi
the
Giovanni e Paolo a Capriccio
316B
Earl of Strathcona's Collection
Westminster Bridge with
Lambeth Palace in the
Background, from the North
284 A
Arthur Tooth. Property of
Entrance to the Grand Canal
with the Church of the Salute
Harbour of St Mark s from the
Piazzetta 1 52 A
Wood Collection
The Thames from York Water
Gate towards Westminster
Bridge 264 A
MELBOURNE
National Gallery of Victoria
Ruins of the Roman Forum
Background
the Capitol in the
201 B
MEMPHIS (TENNESSEE)
Brooks Memorial Art
Gallery
Grand Canal from Campo San
Vio towards the Church of
the Salute 72 D
MEXICO CITY
Gavito Collection
Capitol Sguare and the Cordonata,
Rome 299 A
Pagliai Collection
Scala del Giganti in the Doge's
Palace 323 A
MILAN
Campanini Bonomi
Collection
Roman Forum with the Basilica
of Constantine and the Church
of Santa Francesca Romana
217A
Borletti Collection
Grand Canal from Palazzo
Vendramtn Caleigi to Palazzo
Michiel dalle Colonne 46 B
St Mark Sguare from the
s Grand Canal from near the Rialto
Piazzetta towards the
Procuratie Vecchie 1 48 A
Conti Collection ( >)
Rialto Budge allei Palladio's
Design, the Basilica of St
the
Mark s and a View of Palazzo
Chiericati. Vicenza: a Capriccio
330
Aldo Crespi Collection
Bucintoro Returning to the Quay
on Ascension Day 67 B
Imperial Ambassador being
Received at the Doge's
Palace 61
Mario Crespi Collection
Bucintoro returning to the Quay
on Ascension Day 09 B
Customs House and the
Giudecca Canal 37
Grand Canal from Campo San
Vio near the Rialto Bridge
Grand Canal from Palazzo Balbi
to the Rialto Bridge 93 D
Grand Canal at Santa Chiara
towards the Lagoon 78 B
Harbour of St Mark s with the
Island of San Giorgio from the
Piazzetta 34 A
Rio del Mendicant! 1 4
Museo Poldi Pezzoli
Classical Motifs a Capriccio 337
Pralo delta Val/e. Padua, with
the Churches of Santa
Giustina and the Misencordia
210B
Pinacotecadi Brera
1 71
Grand Canal from Campo San
Vio 1 1 2 D
The Quay from the Harbour of St
Marks 132 C
Private collections
Bucintoro returning to the Quay
on Ascension Day 67 D
Campo Santi Apostoli 1 28
Campo San Francesco delta
Vigna 1 29 A
Campo dei Gesuiti 1 24
Church of San Francesco delta
Vigna. Venice a Capriccio 241
Church of San Niccolo di
1
Castello 131
Classical Ruins a Capriccio 1 5
Grand Canal from Campo San
Wo 2 A
1 1
Grand Canal from the Church of
San Stae to the Fabbriche
Nuove di Rialto 1 20 A
Grand Canal from the Church of
the Scalzi to Cannaregio 121
Grand Canal from Palazzo
with Tiepolo to Ca Foscan 116'
Rasini Collection
Harbour of St Mark s with the
Island of San Giorgio from the
Piazzetta 26 B
MILTON PARK
(PETERBOROUGH)
Fitzwilliam Collection
Grand Canal with the Rialto
Bridge from the North 1 53 A
Harbour of St Mark s from the
Riva degli Schievoni towards
the West 1 58
Harbour of St Mark s towards the
East 1 61 B
The Quay with the Librena
towards the West 1 54
Riva degli Schiavoni towards
East 1 56
St Mark s Sguare from the
Basilica towards the Church
of San Geminiano 1 57 A
St Mark s Sguare towards the
Basilica 1 55 A
St Mark s Sguare towards the
Procuratie Nuove with a View
Church of San
of the Customs House and
with the RINGWOOD (HAMPSHIRE)
Geminiano 1 59 Church of the Salute 70 C
the Mills Collection
Enhance to the Grand Canal
MINNEAPOLIS Bridge towards the North 75 C from the Piazzetta 361
Institute of Arts The Piazzetta towards the South 360
Old Somerset House from the OAKLY PARK
Thames 292 (SHROPSHIRE) Earl of Normanton's
Plymouth Collection
Earl of Collection
Jones Collection
Imaginary Funeiary Monument Grand Canal from Palazzo
Grand Canal from Palazzo
for Lord Somers 9 Grimani to Ca' Foscan 248
Flangini towards San
Riva degli Schiavoni towards the
Marcuola 83 B OTTAWA
East 247 B
National Gallery of Canada
MONTREAL Campo deliArsenate 358
Pillow Collection ROME
Campo San Giacometlo 344 Accademia
Church of Santi Giovanni e Paolo di San Luca
The Piazzetta towards the Torre
with the Scuola di San Marco Staircase and Triumphal Arch
dell'Orologio 359
22 A St Mark Square with the Tone
s
from a Loggia a Capriccio 317
Grand Canal with the Church dell'Orologio 1 50 A Albertini Collection
of the Carit a to wards the
Motifs of Vicenza and Rome a
Harbour of St Mark's 21 OXFORD Capriccio 294 B
Grand Canal with the Fabbriche Ashmolean Museum
1 The Quay with the Librena and
Nuove near the Rialto Bridge Dolo Locks 60 A
the San Teodoro Column
19A Entrance to the Grand Canal
towards the West 1 44 A
Rialto Bridge with Palazzo dei with the Customs House and
Riva degli Schiavoni towards the
Camerlenghi 20 the Church of the Salute 1 35 B
1 3 East 1 43 A
Museum of Fine Arts
PALM BEACH (FLORIDA)
Mark "s
Galleria Borghese
St Basilica Interior 322
Norton Gallery Colosseum 21 6
Campo Santi
MOSCOW Giovanni e Paolo Roman Forum with the Basilica
with the Colleoni Monument
Pushkin Museum of Constantine and the Church
Bucintoro Returns to the Quay 193B of Santa Fiancesca Romana
on Ascension Day 32 217 B
PARIS
A MUNICH Galleria Nazionale
Musee Cognacq-Jay
Alte Pinakothek Grand Canal with the Rialto
Giand Canal from neai the
Bridge from the South 1 37
A The Quay from the Harbour of St Rialto Bridge towards the
Mark's 250 North 75 B
Grand Canal from the Rialto
Bridge toward Ca' Foscan 1 38
Santa Chiara Canal at the
Bayerische Fondamenta della Croce 99 C The Piazzetta towards the South
Staatgemaldesammlungen 139 A
Entrance to the Grand Canal Musee Jacquemart-Andre St Mark s Square from the
Basilica towards the Church of
with the Church of the Salute Rialto Bridge from the South
San Geminiano and the
towards the East 251 242 C
St Mark s Square with the St Mark s Square towards the Procuratie Nuove 36 A 1
Basilica 1 1 B Basilica 243 C
Rocchetti Collection
NEW JERSEY Musee National du Louvre Entrance to the Grand Canal
Rionda Braga Collection Entrance to the Grand Canal with the Customs House and
London Architectural Motifs a with the Church of the Salute 23 B the Church of the Salute 70 D
Capriccio 301
PENRHYN CASTLE SAO PAULO
NEW YORK Matarazzo Collection
(WALES)
Bracaglia Collection (?) Grand Canal fiom Campo San
Douglas-Pennant Collection
Arch of Constantine 2 Campo Santo Stefanin 1 66 Vio 11 2 B
The Quay from the Harbour of St
St Mark s Square towards the
Brandt Collection
Basilica 84 D Mark's ~\
32 A
Venetian Lagoon with Classical
PHILADELPHIA SARASOTA (FLORIDA)
Ruins a Capriccio 312
J. Johnson Art Collection Ringling Museum of Art
Erlanger Collection Harbour of St Mark s towards the Riva degli Schiavoni towards the
Harbour of St Mark s towards West 356 B East 343
the West from the Riva degli Rialto Bridge from the North St Mark's Square from Campo
Schiavoni 341 A
348 B San Basso 342
Fonda Collection Museum of Art
SCHWERIN
Venetian Lagoon with an Oval Bucintoro at the Quay on
Staatliche Museum
Church a Capriccio 268 Ascension Day 249
Grand Canal with the Church of
Knoedler Property PILLNITZ (DRESDEN) the Salute and the Customs
Harbour of St Mark s from the Castle House from Campo Santa
Piazzetta 52 B Grand Canal with the Fabbnch Maria Zobenigo 34 D 1
1
Nuove from
Metropolitan Museum of Art
the Vicinity of the SNAIGOW
Rialto Bridge 1 9 C (PERTHSHIRE)
Entrance to the Grand Canal Grand Canal from Palazzo Balbi
from the Piazzetta 47 B
Cadogan's Collection
Earl of
42 A
Campo Santa Maria Formosa
Rosenberg and Stiebel PRAGUE 101 B
Collection Narodni Galerie Palace. Bridge and Obelisk in
Entrance to the Grand Canal the Background a Capriccio
Colonnade and Courtyard a
with the Church of the Salute Capriccio 355 B 310B
88 B The Thames with Westminstei The Quay from the Harbour of St
Bridge in the Background 263 Mark s 87 C
Stewart Property
The Thames towards the City Villa. Church-and a Column with
Grand Canal with the Church of
with St Paul's Cathedral in the a Statue a Capriccio 31
the Salute and the Customs
Background 262
House from Campo Santa SPRINGFIELD
Mana Zobenigo 1 34 B
PRINCETON (NEW (MASSACHUSETTS)
Museum of Fine Arts
Weitzner Collection JERSEY)
Farm. Portal and Washing Pool
The Piazzetta towards the Torre University
Harbour of St Mark a Capriccio 328
dell'Orologio 86 B s towards the
Rivet with Palace. Church and
West 356 A
NEW YORK Ruins a Capriccio 329
( ?)
Schaeffer Property RALEIGH (NORTH
Prisons of Venice a Capriccio 227
CAROLINA) STOCKHOLM
State Art Museum National Museum
NOVARA Church of San Giorgio Maggiore Grand Canal from Ca Foscan '
Poss Collection and the Rialto Bridge a towards the Church of the
Entrance to the Grand Canal Capriccio 269 Car it a 71 C
I2J
 STOWELL PARK
(GLOUCESTERSHIRE)
Vestey Collection
The Thames with the City in the
Background from the Terrace
of Somerset House 285 B
Westminster Bridge with
Lambeth Palace in the
Background from the North 284
STRASBOURG
Kauffman Collection
Entrance to the Grand Canal
with the Customs House and
the Church of the Salute 44 B
SUSSEX
Dunkels Collection
Brenta Canal at the Portello of
Padua 209 B
Dolo Locks 60 B
Clarke Collection
Is/and of San Michele with
Venice in the Background 306
TISSINGTON HALL
(DERBYSHIRE)
Fitzherbert Collection
Church of San Geremia and the
Entrance to Cannaregio 64 A
TITSEY PARK (SURREY)
Leveson-Gower Collection
Entrance to the Grand Canal
towards the East 347 A
Entrance to the Grand Canal
towards the West 346
The Quay with the Librena and
the San Teodoro Column
towards the West 345 A
Rialto Bridge from the North 348 A
TOLEDO (OHIO)
Museum of Art
The Quay and the Riva degh
Schiavoni from the Harbour of
St Marks 35
TORONTO
Art Gallery
Harbour of St Mark with the
s St Mark's Basilica Interior 321
San Giorgio from the
Island of
Piazzetta 34 B National Gallery of Arts
TURIN
Galleria Sabauda
The Quay with the Doge s
Palace and the Paglia Bridge 27
Private Collections
Bucintoro at the Quay on
Ascension Day 1 74 A
Grand Canal from the Church of
the Scalzi toward the
Fondamenta delta Croce with
the Church of San Simeone
Piccolo 70 B
1
UPTON HOUSE
(WARWICKSHIRE)
National Trust
Harbour of St Mark s with the
Customs House from the
Giudecca Point 36 B
USA
Mellon Collection ') (
St Pauls Cathedral, London 300
Private Collections
Grand Canal with the Church of
the Carita towaids the Harbour
of St Mark's 41 A
The Ptazzetta towards the Island
ofSan Giorgio with the
Basilica and the Doge's Palace 65 Grand Canal with the Church of
The Quay with Right Side of the
Doge's Palace 66
VAN WULFTEN PALTHE
(OLDENZAAL)
Ten Cate Collection
The Piazzetta towards the Island
of San Giorgio 45
St Mark's Square towards the
Basilica from the Procuratie
Nuove 49 B
VENICE
Brass Collection
View of Dolo 195 A
128
Ca' Rezzonico
Entrance to the Grand Canal
with the Customs House and
the Church of the Salute1 35 A
Grand Canal with the Church of
the Salute and the Customs
House from Campo Santa
Maria Zobenigo 1 34 E
Cini Collection
Classical Ruins a Capriccio
Grand Canal from Palazzo
Michiel dalle Colonne to the
Fondaco dei Tedeschi 1 1 9 B
Friedenburg Collection
Prato delta Valle. Padua, with
the Churches of Santa
Giustina and the Misencordia
210C
Gallerie dell'Accademia
Colonnade and a Courtyard a
Capriccio 355 A
Classical Motifs a Capriccio 337 B
Motifs of Padua a Capriccio 336
Giustiniani Collection
Fonteghetto della Farina 1 62
VIENNA
Kunsthistorisches Museum
Customs House Point 38
Riva degh Schiavoni towards St
Mark s 39 A
WAKEHURST PLACE
(SUSSEX)
Price Collection
Haiboui of St Mark s from the
Giudecca Canal 244
St Mark s Square towards the
Basilica 243 B
WARWICK CASTLE
(WARWICKSHIRE)
Earl of Warwick's Collection
East Front of Warwick Castle
291 A, 291 B
South Front of Warwick Castle
290 A. 290 B
WASHINGTON
Church of Santi Giovanni e Paolo
with the Scuola di San Marco
110B
Entrance to the Grand Canal
from the End of the Quay 1 42
St Mark s Basilica and the
Doge s Palace from the
Procuratie Vecchie 1 41
WENDOVER
(BUCKINGHAMSHIRE)
Barlow Collection
St Mark s Square towards the
Basilica 84 B
WINDSOR CASTLE
(BERKSHIRE)
Royal Collections
The Arch of Constantine 204
The Arch of Septimius Severus 205
The Arch of Titus 206
Bucintoro returning to the Quay
on Ascension Day 67 A
Campo Santi Giovanni e Paolo
with the Colleoni Monument
*93A
Grand Canal at Santa Chiara
towards the Lagoon 78 A
Grand Canal with the Rialto
Bridge from the North 74
the Carita towards the Harbour
of St Mark's 41 B
Grand Canal with the Church of
San Simeone Piccolo towards
the Fondamenta della Croce 11
Grand Canal from the Rialto
Bridge to Ca Foscari 69 A
Grand Canal from Ca' Foscari
towards the Church of the
Carita 71 A Duke of Bedford's Collection
Grand Canal towards the Church
of the Salute 366
Grand Canal from Campo San
V10 towards the Church of the
Salute 72 A Cannaregio 1 03 A
Grand Canal from near the
Rialto Bridge towards the
North 15 A
Grand Canal from Palazzo
Vendramin Calergi towards
San Geremia 76
Rialto Bridge after Palladio s
Design a Capriccio 226
4. 5 Horses of St Mark's a Capnccio221 Grand Canal from Palazzo Balbi
Peschena Bridge and Buildings
on the Quay: a Capriccio 224
Church of San Giorgio
Maggiore a Capriccio 222
Li brer 1a and other Venetian
Buildings a Capriccio 239
Scala dei Giganti a Capriccio 238
Motifs of the Quay and St
Mark's Square a Capriccio 223
Motifs of Padua a Capriccio 339
Classical Ruins and Paduan
Motifs a Capriccio 338
Roman Ruins and the Venetian
Monument to Colleoni a
Capriccio 240
Entrance to Cannaregio with the
A Church of San Geremia 79
Entrance to the Grand Canal
with the Church of the Salute
73. 237 A
Entrance to the Grand Canal
with the Customs House and
the Church of the Salute 70 A
Entrance to the Grand Canal
from the End of the Quay 142 B Rialto Bridge from the South 94 A
Entrance to the Grand Canal
from the Piazzetta 47 A
Island of San Gioigio with the
Customs House from the
Entrance to the Grand Canal 43
Islands of San Crtstoforu. San
Michele. and Murano from the
Fondamenta Nuove 365
The Quay with the Doge's
Palace and the Prisons towards
the West 219
Pantheon 207
St Mark s Basilica at Niqhl
Interior 353
St Mark sSquare towards the
Basilica from the Procuratie
Nuove 49 A
St Mark s Square towards the
A Church of San Gemimano
from the Piazzetta 50
St Mark s Square towards the
Procuratie Vecchie from the
Basilica 51
St Mark's Square with a view of
the Basilica towards the
236
The Piazzetta towards the
Island of San Giorgio 48
The Piazzetta towards the Torre
dell'Orologio 52
The Piazzetta towards the Torre
dell'Orologio from the
Librena to the Doge s Palace 220
The Piazzetta towards the Island
San Giorgio 48
of
Regatta on the Grand Canal 68 A
Bucintoro returning to the Quay
on Ascension Day 67 A
Ruins of the Roman Forum with
the Capitol in the Background
201 A. 203
Temple of Antoninus and
Faustina. Rome 202 A
The Thames with the City in the
Background from the Terrace
of Somerset House 285 A
The Thames with Westminster
Bridge in the Background
from the Terrace of Somerset
House 286 A
WOBURN ABBEY Capitol Square, Rome 299 C
(BEDFORDSHIRE) Church of San Giorgio from the
Arsenal Bridge 1 00 Church of San Salvatore.Vemce 233
Bucintoro leaving the Quay on Church of Santa Maria
Ascension Day 1 07 A
Campo Santa Maria Formosa 1 01 A Church, Ruined and the Venetian
Campo Santo Stefano 1 02
Church of the Rendentore 1 04 A
Grand Canal from Ca Pesaro to ' Entrance to the Grand Canal
the Fondaco dei Tedeschi 95
Grand Canal from Ca' Rezzonico
to Palazzo Balbi 91 A
Grand Canal from the Church of
Santa Croce to the Church of
San Geremia 98
to the Rialto Bridge 93 A
Grand Canal from Palazzo
Bembo to Palazzo Vendramin
Calergi 97
Grand Canal from Palazzo
Contanni dagli Scngni to Ca
Rezzonico 90 A
Grand Canal from Palazzo
Cornaro to Palazzo Contanni
dagli Scngni 89 A
Grand Canal from Palazzo
Corner Spme/li to the Rialto
Bridge 92
Grand Canal from Palazzo
Vendramin Calergi to Palazzo
Fontana 96
Entrance to the Grand Canal with
the Church of the Salute 88 A
The Piazzetta towards the Torre
dell Orologio 86 A
Arsenate Bridge 1 00
The Quay from the Harbour of St
Mark's 87 A
Regatta on the Grand Canal 1 06 A
St Mark s Square from the
Basilica towards the Church of
San Gemimano and the
Procuratie Nuove 85 A
St Mark s Square towards the
Basilica 84 A
Santa Chiara Canal at the
Fondamenta della Croce 99
Scuola di San Rocco 1 05 A
WORCESTER
(MASSACHUSETTS)
ArtMuseum
Round Domed Church
Capriccio 298
ZURICH
Buhrle Collection
Grand Canal from the Rialto
Bridge to Ca Foscari 172
Entrance Cannaregio with the
to
Church of San Geremia 1 76 B
Entrance to the Grand Canal
with the Church of the Salute
towards the East 173
ZURICH (?)
South Property of Brown. Boveri
and Co.
St Mark s Square horn the
Librena to the Loggetta 1 49
DESTROYED WORK
Bucintoro Leaving the Quay
on Ascension Day 1 07 B
WHEREABOUTS
UNKNOWN
Brenta Canal at the Portello
Padua 209 A
Bucintoro at the Quay on
Ascension Day 256
Bucintoro returning to the
on Ascension Day 1 09 A
Campo di Rialto 229 C
Campo San Francesco della
29 B
Vigna 1 Santa Chiara Canal at the
Campo San Geremia 1 23
Campo San Polo 1 26
Campo San Salvatore 1 27
Campo Santa Marghenta 1 25
Campo Sant'Angelo 1 22
Campo Santi Giovanni e Paolo
with the Colleoni Monument
246 B
Giudecca Canal 40 Venetian Lagoon with Tomb a
Capriccio 320 B
Westminster Bridge 304
Zobenigo 1 30 A. 1 30 B Westminster Bridge from the
North 267
Monument to Colleoni a
Capriccio 309
Dolo. View oH 95 B
with the Church of the Salute 237 C
Fondamenta Nuove and the
Church of Santa Maria del
Pianto 335
Grand Canal from Ca da Mosto '
Bridge 1 1 8 A
to the Rialto
Grand Canal from Campo della
Carita toward Palazzo Venter
della Torrese/la 115
Grand Canal from Campo Santa
Sofia to the Church of San
Marcuola 1 79
Grand Canal from the Church 0/
San Stae to the Fabbriche
Nuove di Rialto 1 20 B
Grand Canal from the Church of
Santa Croce to the Church of
San Geremia 114
Grand Canal from Palazzo Balbi
to the Rialto Bridge 93 C
Grand Canal horn Palazzo
Contanni dagli Scngni to Ca'
Rezzonico 90 B
Grand Canal from Palazzo
Michiel dalle Colonne to the
Fondaco del Tedeschi 9A
1 1
Grand Canal from the Rialto
Bridge to Ca' Foscari 1 1 7
Harbour of St Mark s towards the
West from the Riva degh
Schiavoni 341 B
King's College Chapel.
Cambridge Interior 111
Marghera Tower 1 98
Mestie. View of 1 94 B
New Horse Guards from St
James's Park 296 B
Palace. Bridge and Obelisk in the
Background a Capriccio 310 A
A
The Piazzetta towards the Torre
dell'Orologio 86 D
The Piazzetta with the Librena
towards the West 1 86 B, 1 86 C
The Quay with the Right Side of
the Doge's Palace 24
a
The Quay with the Doge's
Palace, towards the West 1 80 B
The Quay from the Harbour of St
Mark's 274 A. 274 B
Rialto Bridge from the South
147 B. 242 A
Rio dei Mendicanti 1 4 B, 1 4 C
Riva degh Schiavoni 25
Rome. View of!
Rome. Imaginary View of 3, 8
Rome. View of. with the
Venetian Monument to
Colleoni a Capriccio 1
St Mark s Square from the
Basilica towards the Church of
San Gemimano 1 85 A, 1 85 B
St Mark s Square from the
Basilica towards the Church of
San Gemimano and the
Procuratie Nuove 85 B
St Mark s Square from the
Piazzetta towards the
of Procuratie Vecchie 1 48 B
St Mark's Square towards the
Basilica 63. 84 C. 1 65 B
St Mark's Square towards the
Quay Torre dell'Orologio 1 40 B
St Mark's Square with the
Doge s Palace and the
Procuratie Nuove 240 B
Fondamenta della Croce 1 1 3
Scala dei Giganti in the Doge's
Palace 323 C
Seaport with a Volcano
Erupting 357
Venetian Lagoon with a House.
Church and Bell Tower a
Capriccio 324 B
Venetian Lagoon with Classical
Ruins: a Capriccio 31 4 C
CLASSICS OF THE WORLD'S GREAT ART

series:
Titles available or in preparation in this

Michelangelo • Giotto • Raphael • Caravaggio • Bosch

Vermeer Bruegel • Manet • Giorgione

Leonardo da Vinci • •

• The Van Eycks • Canaletto

Piero della Francesca • Botticelli

Watteau Picasso-Blue and Rose Periods • Durer

Mantegna • •

com-
This series is based upon an exhaustive assembly of facts, painstakingly
raisonne, summarizes
piled. Its special feature, the comprehensive catalogue

the best available sources and examines the

works themselves, giving specific
ancillary historical details, sociology,
attention to history and historiography,
chronology, painting tech-
aesthetics, art criticism, iconography, symbolism,
of examination, conservation and restoration, literary
niques, scientific methods
influences, bibliography, catalogue references,
comparative studies, copies and
particular interest to students,
replicas. Such a feature, which should be of
works in depth. The
arms the reader with the data necessary to appreciate the
criteria of authenticity and documentary
references have been scrupulously
confronted; and con-
reviewed; opposing critical schools have been objectively
for them is unimpeachable.
clusions have been drawn only where the evidence

New York, N.Y. 10022

HARRY N.ABRAMS, NC./ I 110 East 59th Street,
8