In the Piazzetta, the re-paving was well advanced. Two little dogs were chasing each other and a cluster of children was clamouring around the little man who sold fritters and sweet biscuits from a pushcart. Under the bell tower, an old woman sitting in a chair and hunched over a rickety makeshift counter, her blue eyes peering from deep sockets, smiled repulsively as she read a young bride’s palm. Nearby, a beggar, pulling his threadbare cloak around him, sat on the ground, leaning into a corner of the loggetta, trying to capture a little warmth from the dull sunlight. Occasionally, here and there, foreign voices—of Armenians, Greeks, Levantines—mingled with the general Venetian chatter. A knot of men in ash grey tabarro cloaks—greengrocers or sausage sellers, probably—stood chatting with two perfume and ointment salesmen at a kiosk under a yellowing awning at the base of the bell tower.
The day would soon be on the decline. The damp cold was already closing in. A few women passed with baskets over their arms, their braided hair neatly pinned on their heads under black kerchiefs tied under their chins. Their dress was humble, skirts either yellow or salmon coloured, and they each wore a little shawl around their shoulders that they held tightly closed in front of their chests. The old woman who sold essences was on her way home with her basket.
The little dog that had been dashing around the children at the fritter cart ran playfully over to the Porta della Carta, wagging his tail, trying to attract the attention of the two notaries who were drawing up the last documents of the day. He sniffed all around, lifted his leg and relieved himself.
From The Laws of Time, a novel by Andrea Perego
Street vendors, boatmen, dogs, ordinary people going about the paved or unpaved streets. Woven baskets, wicker chests, textiles, awnings and tabarro cloaks. Women at their windows, workmen, stone cutters, and gentlemen drinking coffee and chatting. Venice in 1730 was a living and energetic city. In fact, it was one of the liveliest in Europe. And this is how it is reflected back to us by the artists known as vedutisti—the view painters. First amongst them is Canaletto, of course, but he was not alone. There were also Cimaroli, Domenichini, Bellotto, Carlevarijs, Marieschi, Longhi, and the sublime Francesco Guardi.
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco and the Procuratie Nuove
Circa 1756
National Gallery, London
On the other side, too, under the Procuratie Nove—in Caffè di Biasetti, at Giuseppe Boduzzi’s Aurora Caffè, and at Florian Francesconi’s Venezia Trionfante—more young men were playing the same game.
From The Laws of Time, a novel by Andrea Perego
Piazza San Marco and the Procuratie Nuove
Circa 1756
National Gallery, London
On the other side, too, under the Procuratie Nove—in Caffè di Biasetti, at Giuseppe Boduzzi’s Aurora Caffè, and at Florian Francesconi’s Venezia Trionfante—more young men were playing the same game.
From The Laws of Time, a novel by Andrea Perego
Bernardo Bellotto (Venezia 1722 – 1780 Warsaw)
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
Bernardo Bellotto (Venezia 1722 – 1780 Warsaw)
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal from Campo San Vio. On the left, Palazzo Corner della Ca’ Granda
Private collection, formerly in the Alfred A. Taubman collection
A humble little boat drew near to San Vio and put out a wooden gangplank for a young woman. She disembarked carrying pitchers of milk in woven wicker baskets.
Further down, on the other side of the Canal, in front of the Cornaro residence, another little boat encountered a household gondola going out in the service of some gentleman, its black serge-covered felze bearing a brass shield with a family crest. The oarsman on the foredeck of the skiff recognized the rowing style of the gondolier and gave him a salute, “Ohè, pope!”
From The Laws of Time, a novel by Andrea Perego
View of the Grand Canal from Campo San Vio. On the left, Palazzo Corner della Ca’ Granda
Private collection, formerly in the Alfred A. Taubman collection
A humble little boat drew near to San Vio and put out a wooden gangplank for a young woman. She disembarked carrying pitchers of milk in woven wicker baskets.
Further down, on the other side of the Canal, in front of the Cornaro residence, another little boat encountered a household gondola going out in the service of some gentleman, its black serge-covered felze bearing a brass shield with a family crest. The oarsman on the foredeck of the skiff recognized the rowing style of the gondolier and gave him a salute, “Ohè, pope!”
From The Laws of Time, a novel by Andrea Perego
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal from Campo San Vio. On the left, Palazzo Corner della Ca’ Granda (detail)
Private collection, formerly in the Alfred A. Taubman collection
A humble little boat drew near to San Vio and put out a wooden gangplank for a young woman. She disembarked carrying pitchers of milk in woven wicker baskets.
Further down, on the other side of the Canal, in front of the Cornaro residence, another little boat encountered a household gondola going out in the service of some gentleman, its black serge-covered felze bearing a brass shield with a family crest. The oarsman on the foredeck of the skiff recognized the rowing style of the gondolier and gave him a salute, “Ohè, pope!”
From The Laws of Time, a novel by Andrea Perego
View of the Grand Canal from Campo San Vio. On the left, Palazzo Corner della Ca’ Granda (detail)
Private collection, formerly in the Alfred A. Taubman collection
A humble little boat drew near to San Vio and put out a wooden gangplank for a young woman. She disembarked carrying pitchers of milk in woven wicker baskets.
Further down, on the other side of the Canal, in front of the Cornaro residence, another little boat encountered a household gondola going out in the service of some gentleman, its black serge-covered felze bearing a brass shield with a family crest. The oarsman on the foredeck of the skiff recognized the rowing style of the gondolier and gave him a salute, “Ohè, pope!”
From The Laws of Time, a novel by Andrea Perego
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo
Getty Museum
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo
Getty Museum
Bernardo Bellotto, Campo Santa Maria Formosa
Circa 1742
Oil on canvas, 92 x 150.5 cm
Private collection
Circa 1742
Oil on canvas, 92 x 150.5 cm
Private collection
Giovanni Antonio Canal, aka Canaletto. (Venice, 1697 – 1768) The Doge’s Palace and the Riva degli Schiavoni
Circa 1730-1740
National Gallery, London
He walked towards the Piazza along the embankment littered with twigs and stacks of wood, where the Dalmatians had their stalls selling smoked fish and lamb. A few pistori were coming home from the bread factories at San Martino, where they made ship’s biscuits for the naval crews at the Arsenale. He passed the Church of the Pietà. Up ahead, at the Ponte della Paglia, and beyond, there was an incessant movement of sandolo boats between the wooden jetties. Gondoliers at the service of government grandees waited in their gold-trimmed red cloaks, maintaining a running banter, joking amongst themselves. One was blowing on his hands, rubbing them together to keep them warm. The sea slapped against the embankment.”
From The Laws of Time, a novel by Andrea Perego
Circa 1730-1740
National Gallery, London
He walked towards the Piazza along the embankment littered with twigs and stacks of wood, where the Dalmatians had their stalls selling smoked fish and lamb. A few pistori were coming home from the bread factories at San Martino, where they made ship’s biscuits for the naval crews at the Arsenale. He passed the Church of the Pietà. Up ahead, at the Ponte della Paglia, and beyond, there was an incessant movement of sandolo boats between the wooden jetties. Gondoliers at the service of government grandees waited in their gold-trimmed red cloaks, maintaining a running banter, joking amongst themselves. One was blowing on his hands, rubbing them together to keep them warm. The sea slapped against the embankment.”
From The Laws of Time, a novel by Andrea Perego
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal from Campo San Vio. On the left, Palazzo Corner della Ca’ Granda (detail)<br
Private collection, formerly in the Alfred A. Taubman collection
A humble little boat drew near to San Vio and put out a wooden gangplank for a young woman. She disembarked carrying pitchers of milk in woven wicker baskets.
Further down, on the other side of the Canal, in front of the Cornaro residence, another little boat encountered a household gondola going out in the service of some gentleman, its black serge-covered felze bearing a brass shield with a family crest. The oarsman on the foredeck of the skiff recognized the rowing style of the gondolier and gave him a salute, “Ohè, pope!”
From The Laws of Time, a novel by Andrea Perego
View of the Grand Canal from Campo San Vio. On the left, Palazzo Corner della Ca’ Granda (detail)<br
Private collection, formerly in the Alfred A. Taubman collection
A humble little boat drew near to San Vio and put out a wooden gangplank for a young woman. She disembarked carrying pitchers of milk in woven wicker baskets.
Further down, on the other side of the Canal, in front of the Cornaro residence, another little boat encountered a household gondola going out in the service of some gentleman, its black serge-covered felze bearing a brass shield with a family crest. The oarsman on the foredeck of the skiff recognized the rowing style of the gondolier and gave him a salute, “Ohè, pope!”
From The Laws of Time, a novel by Andrea Perego
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
View of the Scuola di San Rocco, on the left, with the façade of San Rocco church
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Luca Carlevarijs, 1663-1730.
La Piazzetta a Venezia, ca. 1700-10
Timken Museum of Art
San Diego, California
La Piazzetta a Venezia, ca. 1700-10
Timken Museum of Art
San Diego, California
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco (detail)
Circa 1758
National Gallery, London
Copyright © The National Gallery, London
Piazza San Marco (detail)
Circa 1758
National Gallery, London
Copyright © The National Gallery, London
Giovanni Antonio Canal, aka Canaletto
The Grand Canal from Palazzo Flangini (detail)
Circa 1738
Getty Museum
The Grand Canal from Palazzo Flangini (detail)
Circa 1738
Getty Museum
Palazzo Grimani on the Grand Canal
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Apollonio Facchinetti, aka Domenichini (1715-c.1770)
View of the Grand Canal with the church of Santa Lucia and the Scalzi church.
Private collection
Many of the buildings in this painting don’t exist anymore. The church of Santa Lucia and all the houses on its left, were demolished in the 1800s, to build the train station. The Scalzi church still exists, with the Scalzi bridge in front of it, built in the 20th century.
View of the Grand Canal with the church of Santa Lucia and the Scalzi church.
Private collection
Many of the buildings in this painting don’t exist anymore. The church of Santa Lucia and all the houses on its left, were demolished in the 1800s, to build the train station. The Scalzi church still exists, with the Scalzi bridge in front of it, built in the 20th century.
Palazzo Pisani in Campo Santo Stefano
from “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
from “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
Luca Carlevarijs, Piazzetta San Marco, detail
circa 1730
Private collection
circa 1730
Private collection
Giovanni Antonio Canal, aka Canaletto
The Grand Canal and Palazzo Flangini
Circa 1738
Getty Museum
The Grand Canal and Palazzo Flangini
Circa 1738
Getty Museum
Luca Carlevaris (1663-1730)
La Piazzetta
Private collection
La Piazzetta
Private collection
Palazzo Pisani (today Pisani-Moretta) at San Tomà
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco looking towards San Geminiano church
Galleria nazionale d’arte antica di Palazzo Corsini, Rome
San Geminiano church and all the western side of St Mark’s Square were demolished by Napoleon in 1807, to build his Royal Palace, today Correr Museum.
Piazza San Marco looking towards San Geminiano church
Galleria nazionale d’arte antica di Palazzo Corsini, Rome
San Geminiano church and all the western side of St Mark’s Square were demolished by Napoleon in 1807, to build his Royal Palace, today Correr Museum.
The church of San Moisè
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo (detail)
Getty Museum
Giovanni Antonio Canal, aka Canaletto
Vanice, Riva degli Schiavoni
Toledo Museum of Art
Vanice, Riva degli Schiavoni
Toledo Museum of Art
Antonio Canal aka Canaletto, Campo Santa Maria Formosa
Circa 1735-40
Drawing
Royal Collection Trust © Her Majesty Queen Elizabeth II 2016
Provenance: Joseph Smith, sold to King George III
Circa 1735-40
Drawing
Royal Collection Trust © Her Majesty Queen Elizabeth II 2016
Provenance: Joseph Smith, sold to King George III
View of the doors of the Arsenal
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Francesco Guardi (1712–1793)
Piazza San Marco
Circa 1765
The Met, New York
Piazza San Marco
Circa 1765
The Met, New York
Giovanni Antonio Canal, aka Canaletto
The Grand Canal with San Simeone Piccolo and the Scalzi church
Circa 1740
National Gallery, London
The Grand Canal with San Simeone Piccolo and the Scalzi church
Circa 1740
National Gallery, London
Giovanni Antonio Canal, aka Canaletto
The Grand Canal from Palazzo Flangini (detail)
Circa 1738
Getty Museum
The Grand Canal from Palazzo Flangini (detail)
Circa 1738
Getty Museum
Bernardo Bellotto (Venice 1722 – 1780 Warsaw)
View of the Grand Canal from Campo San Vio. On the left, Palazzo Corner della Ca’ Granda (detail)
Private collection, formerly in the Alfred A. Taubman collection
A humble little boat drew near to San Vio and put out a wooden gangplank for a young woman. She disembarked carrying pitchers of milk in woven wicker baskets.
Further down, on the other side of the Canal, in front of the Cornaro residence, another little boat encountered a household gondola going out in the service of some gentleman, its black serge-covered felze bearing a brass shield with a family crest. The oarsman on the foredeck of the skiff recognized the rowing style of the gondolier and gave him a salute, “Ohè, pope!”
From The Laws of Time, a novel by Andrea Perego
View of the Grand Canal from Campo San Vio. On the left, Palazzo Corner della Ca’ Granda (detail)
Private collection, formerly in the Alfred A. Taubman collection
A humble little boat drew near to San Vio and put out a wooden gangplank for a young woman. She disembarked carrying pitchers of milk in woven wicker baskets.
Further down, on the other side of the Canal, in front of the Cornaro residence, another little boat encountered a household gondola going out in the service of some gentleman, its black serge-covered felze bearing a brass shield with a family crest. The oarsman on the foredeck of the skiff recognized the rowing style of the gondolier and gave him a salute, “Ohè, pope!”
From The Laws of Time, a novel by Andrea Perego
Apollonio Facchinetti, aka Domenichini (1715-c.1770)
View of the Grand Canal with the Scalzi church.
Private collection
Many of the buildings in this painting don’t exist anymore. The church of Santa Lucia (on the left) and all the houses on its left, were demolished in the 1800s, to build the train station. The Scalzi church (on the right) still exists, with the Scalzi bridge in front of it, built in the 20th century.
View of the Grand Canal with the Scalzi church.
Private collection
Many of the buildings in this painting don’t exist anymore. The church of Santa Lucia (on the left) and all the houses on its left, were demolished in the 1800s, to build the train station. The Scalzi church (on the right) still exists, with the Scalzi bridge in front of it, built in the 20th century.
Francesco Guardi, View of San Giorgio island
Hermitage Museum, San Pietroburgo
Hermitage Museum, San Pietroburgo
“But, I have to say, that, when I can, I still prefer to go and listen to music in the Conservatories or in Church,” she answered evasively. “It is more peaceful, more restrained. And it allows a way to hear the music better, if one is going just for the music. Last week, for example, we were invited to the Incurabili. The Procurator put on a Cantata for five voices, which was so beautiful, so mellifluous, it really was. And they sang like angels.”
From The Laws of Time, a novel by Andrea Perego
Venice, view of the Zattere, with the church of Santo Spirito and the Ospedale degli Incurabili. Master of the Langmatt Foundation (Apollonio Domenichini)
Circa 1760
Private collection.
The long, white building in this painting is the Ospedale degli Incurabili. It was home to the Conservatory that Cecilia refers to in the novel. Today it’s the main seat of the Accademia di Belle Arti.
From The Laws of Time, a novel by Andrea Perego
Venice, view of the Zattere, with the church of Santo Spirito and the Ospedale degli Incurabili. Master of the Langmatt Foundation (Apollonio Domenichini)
Circa 1760
Private collection.
The long, white building in this painting is the Ospedale degli Incurabili. It was home to the Conservatory that Cecilia refers to in the novel. Today it’s the main seat of the Accademia di Belle Arti.
Michele Marieschi (Venice, 1710-1744)
Santa Maria della Salute
Private collection.
Santa Maria della Salute
Private collection.
Michele Marieschi (Venice, 1710-1744)
The Grand Canal and the church of San Stae
Private collection
The Grand Canal and the church of San Stae
Private collection
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco
Circa 1758
National Gallery, London
Copyright © The National Gallery, London
Piazza San Marco
Circa 1758
National Gallery, London
Copyright © The National Gallery, London
View of Campo Santo Stefano
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
The Grand Canal in a painting by Bernardo Bellotto.
1739-40
Private collection
On the left, Palazzo Contarini dagli Scrigni.
On the left but further down along the Canal, Ca’ Rezzonico can be seen, still unfinished. In 1740 only the first floor was completed, featuring a wooden gable, as we can see in this painting. Works started again in 1751 and in a few years the house was finished as we see it today.
1739-40
Private collection
On the left, Palazzo Contarini dagli Scrigni.
On the left but further down along the Canal, Ca’ Rezzonico can be seen, still unfinished. In 1740 only the first floor was completed, featuring a wooden gable, as we can see in this painting. Works started again in 1751 and in a few years the house was finished as we see it today.
On large wooden chests around Rialto, bolts of silk, brocades, damasks, velvets and fine wool reappeared. Where a narrow lane or passageway opened onto the streets, sweet pungent aromas of spices wafted out—cumin and nutmeg, cardamom and Java pepper, coriander, cinnamon, ginger.
Calle dei Fuseri, Calle degli Stagneri and the alleys around San Giacometto and Campo San Bartolomeo reawakened, with the carpenters and blacksmiths, shoemakers and knife grinders returning to their trades.
In butcher shops and sausage shops, candles hung down on chains from wooden ceiling beams to illuminate boxes of chicken giblets and pork offal, strings of sausages and stacked wheels of cheese. In the doorways of the cereal merchants, sacks of flour appeared, along with chests and baskets of grains.
From The Laws of Time, a novel by Andrea Perego
Giovanni Antonio Canal, aka Canaletto (Venice, 1697 – 1768) Campo San Giacomo at Rialto.
Drawing
Private collection
Calle dei Fuseri, Calle degli Stagneri and the alleys around San Giacometto and Campo San Bartolomeo reawakened, with the carpenters and blacksmiths, shoemakers and knife grinders returning to their trades.
In butcher shops and sausage shops, candles hung down on chains from wooden ceiling beams to illuminate boxes of chicken giblets and pork offal, strings of sausages and stacked wheels of cheese. In the doorways of the cereal merchants, sacks of flour appeared, along with chests and baskets of grains.
From The Laws of Time, a novel by Andrea Perego
Giovanni Antonio Canal, aka Canaletto (Venice, 1697 – 1768) Campo San Giacomo at Rialto.
Drawing
Private collection
On the other side, too, under the Procuratie Nove—in Caffè di Biasetti, at Giuseppe Boduzzi’s Aurora Caffè, and at Florian Francesconi’s Venezia Trionfante—more young men were playing the same game.
From The Laws of Time, a novel by Andrea Perego
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco, the Procuratie Nuove.
Circa 1745
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2016
Provenance: bought in 1762 by King George III from Joseph Smith, British consul in Venice.
From The Laws of Time, a novel by Andrea Perego
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco, the Procuratie Nuove.
Circa 1745
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2016
Provenance: bought in 1762 by King George III from Joseph Smith, British consul in Venice.
Circle of Apollonio Domenichini (aka the Master of the Langmatt Foundation)
Venice, view of Palazzo Balbi on the Grand Canal
Private collection
Venice, view of Palazzo Balbi on the Grand Canal
Private collection
Master of the Langmatt Foundation Views, maybe Apollonio Domenichini (1715–1770)
View of the Fondamente Nove, with the Hospital of San Lazzaro dei Mendicanti
Circa 1770
Private collection
View of the Fondamente Nove, with the Hospital of San Lazzaro dei Mendicanti
Circa 1770
Private collection
Palazzo Contarini in Campo San Trovaso
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Michele Marieschi (Venice, 1710-1744)
Rialto Bridge
Private collection.
Rialto Bridge
Private collection.
Michele Marieschi (Venice, 1710-1744)
Rialto Bridge (detail)
Private collection.
Rialto Bridge (detail)
Private collection.
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco and the Procuratie Nuove (detail)
Circa 1756
National Gallery, London
On the other side, too, under the Procuratie Nove—in Caffè di Biasetti, at Giuseppe Boduzzi’s Aurora Caffè, and at Florian Francesconi’s Venezia Trionfante—more young men were playing the same game. Marcello arrived at the entrance of alla Vigilanza apothecary, greeted a couple of men who stood chatting at the door, and went in, passing two more in deep discussion who had just left the Palace and were on their way to the ridotto near the San Geminiano Church, a few doors down from Luigi Fabbri’s perfume shop.
From The Laws of Time, a novel by Andrea Perego
Piazza San Marco and the Procuratie Nuove (detail)
Circa 1756
National Gallery, London
On the other side, too, under the Procuratie Nove—in Caffè di Biasetti, at Giuseppe Boduzzi’s Aurora Caffè, and at Florian Francesconi’s Venezia Trionfante—more young men were playing the same game. Marcello arrived at the entrance of alla Vigilanza apothecary, greeted a couple of men who stood chatting at the door, and went in, passing two more in deep discussion who had just left the Palace and were on their way to the ridotto near the San Geminiano Church, a few doors down from Luigi Fabbri’s perfume shop.
From The Laws of Time, a novel by Andrea Perego
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco (detail)
Circa 1758
National Gallery, London
Copyright © The National Gallery, London
Piazza San Marco (detail)
Circa 1758
National Gallery, London
Copyright © The National Gallery, London
Marcello came out the back way from the chapter house at San Francesco della Vigna. He had gone there to speak with the Guardian of the Friars Minor. He kept close to the wall of the San Francesco cemetery. The sixteenth century bell tower, tufted with weeds, stood out behind him, crumbling against the white sky. He skirted round the church and turned left towards Campo delle Gate.
From The Laws of Time, a novel by Andrea Perego
Giovanni Antonio Canal, aka Canaletto. (Venezia, 1697 – 1768)
San Francesco della Vigna, the church and the campo.
Private collection
From The Laws of Time, a novel by Andrea Perego
Giovanni Antonio Canal, aka Canaletto. (Venezia, 1697 – 1768)
San Francesco della Vigna, the church and the campo.
Private collection
Master of the Langmatt Foundation Views, maybe Apollonio Domenichini (1715-1770)
View of the Grand Canal with the Fondaco dei Tedeschi, Rialto Bridge, and the Palazzo dei Camerlenghi
Circa 1770
Private collection
View of the Grand Canal with the Fondaco dei Tedeschi, Rialto Bridge, and the Palazzo dei Camerlenghi
Circa 1770
Private collection
Michele Marieschi (Venice, 1710-1744)
Piazza San Marco
Milan, Private collection
Piazza San Marco
Milan, Private collection
Francesco Guardi (1712–1793)
Piazza San Marco (dettaglio)
Circa 1765
The Met, New York
Piazza San Marco (dettaglio)
Circa 1765
The Met, New York
The sea slapped against the embankment. In the Piazzetta, the re-paving was well advanced. Two little dogs were chasing each other and a cluster of children was clamouring around the little man who sold fritters and sweet biscuits from a pushcart.
From The Laws of Time, a novel by Andrea Perego
The reference to the resurfacing of Piazza San Marco alludes to the paving work that began at the beginning of 1723, on a design by Andrea Tirali, and finished in 1735. In 1730, it was more than halfway completed.
This painting by Canaletto shows Piazza San Marco during its re-paving.
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco
c.1723 – 1724
Museo Thyssen-Bornemisza, Madrid
From The Laws of Time, a novel by Andrea Perego
The reference to the resurfacing of Piazza San Marco alludes to the paving work that began at the beginning of 1723, on a design by Andrea Tirali, and finished in 1735. In 1730, it was more than halfway completed.
This painting by Canaletto shows Piazza San Marco during its re-paving.
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco
c.1723 – 1724
Museo Thyssen-Bornemisza, Madrid
Michele Marieschi (Venice, 1710-1744)
Rialto Bridge (detail)
Private collection
Rialto Bridge (detail)
Private collection
View of the Dogana
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
View of Piazza San Marco towards San Giminiano church
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Francesco Guardi, Gondola on the lagoon
1765
Poldi Pezzoli Museum, Milan
1765
Poldi Pezzoli Museum, Milan
Apollonio Domenichini (1715-1770) (Master of the Langmatt)
View of Piazza San Marco, detail
Circa 1760
Private collection
View of Piazza San Marco, detail
Circa 1760
Private collection
Michele Marieschi (Venice, 1710-1744)
Rialto Bridge (detail)
Private collection
Rialto Bridge (detail)
Private collection
Michele Marieschi (Venice, 1710-1744)
Rialto Bridge (detail)
Private collection
Rialto Bridge (detail)
Private collection
Palazzo Mocenigo at San Stae
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Apollonio Domenichini (aka the Master of the Langmatt Foundation)
Active in Venice, mid-18th century
View of the rio dei Mendicanti with the convent of the dominicans.
Private collection
Active in Venice, mid-18th century
View of the rio dei Mendicanti with the convent of the dominicans.
Private collection
Luca Carlevarijs, Piazzetta San Marco
circa 1730
Private collection
circa 1730
Private collection
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco
National Gallery of Art, Washington
Piazza San Marco
National Gallery of Art, Washington
Giovanni Antonio Canal, aka Canaletto
The central Stretch of the Grand Canal
The central Stretch of the Grand Canal
Canaletto (Venice 1697-Venice 1768)
Il Canal Grande e la chiesa di Santa Maria della Salute
The Grand Canal with Santa Maria della Salute looking towards the Riva degli Schiavoni
c.1729-30
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande e la chiesa di Santa Maria della Salute
The Grand Canal with Santa Maria della Salute looking towards the Riva degli Schiavoni
c.1729-30
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (Venice 1697-Venice 1768)
Il Canal Grande da Campo San Vio, guardando verso il Bacino di San Marco
The Grand Canal looking east from Campo San Vio towards the Bacino
c.1727-28
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande da Campo San Vio, guardando verso il Bacino di San Marco
The Grand Canal looking east from Campo San Vio towards the Bacino
c.1727-28
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (Venice 1697-Venice 1768)
L’ingresso di Canal Grande dal Bacino di San Marco. Sulla sinistra si vedono la Dogana e la Chiesa della Salute.
The mouth of the Grand Canal looking west towards the Carità
c.1729-30
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
L’ingresso di Canal Grande dal Bacino di San Marco. Sulla sinistra si vedono la Dogana e la Chiesa della Salute.
The mouth of the Grand Canal looking west towards the Carità
c.1729-30
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (Venice 1697-Venice 1768)
Il Canal Grande e la Chiesa della Carità, guardando verso il Bacino di San Marco
The Grand Canal looking east from the Carità towards the Bacino
c.1727-28
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande e la Chiesa della Carità, guardando verso il Bacino di San Marco
The Grand Canal looking east from the Carità towards the Bacino
c.1727-28
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (1697-1768)
Il Canal Grande dal Ponte di Rialto, verso Sud
The Grand Canal looking south-west from the Rialto to Ca’ Foscari
c.1724-25
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande dal Ponte di Rialto, verso Sud
The Grand Canal looking south-west from the Rialto to Ca’ Foscari
c.1724-25
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (1697-1768)
Il Canal Grande col Ponte di Rialto da Nord
The Rialto Bridge from the North
c.1726-27
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande col Ponte di Rialto da Nord
The Rialto Bridge from the North
c.1726-27
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Giovanni Antonio Canal, aka Canaletto
Campo dei Gesuiti, Venice
Drawing
Private collection
Originally in Pierre-Jean Mariette’s collection.
Campo dei Gesuiti, Venice
Drawing
Private collection
Originally in Pierre-Jean Mariette’s collection.
Bernardo Bellotto, Campo Santi Giovanni e Paolo
Circa 1745
National Gallery of Art, Washington, DC
Circa 1745
National Gallery of Art, Washington, DC
Giovanni Antonio Canal, aka Canaletto
Campo Santi Giovanni e Paolo
Campo Santi Giovanni e Paolo
The Scuola di San Rocco
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Giovanni Antonio Canal, aka Canaletto
Piazza San Marco, looking west from the Procuratie Nuove
Piazza San Marco, looking west from the Procuratie Nuove
Painted by Canaletto after he returned to Venice from England, after 1755, this view of Palazzo Vendramin-Calergi on the Grand Canal is part of a group of paintings depicting some of the main Venetian palaces.
Private collection
Private collection
Giovanni Antonio Canal, aka Canaletto
The Piazza and Piazzetta
The Piazza and Piazzetta
San Pietro di Castello, chiesa patriarcale
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
From “Le fabriche e vedute di Venezia”, Venice 1703
Engraving by Luca Carlevarijs (1663-1730)
Giovanni Antonio Canal, aka Canaletto
The Molo and Riva degli Schiavoni
The Molo and Riva degli Schiavoni
Luca Carlevarijs, 1663-1730.
La Piazzetta a Venezia, ca. 1700-10, detail.
Timken Museum of Art
San Diego, California
La Piazzetta a Venezia, ca. 1700-10, detail.
Timken Museum of Art
San Diego, California
Luca Carlevaris (1663-1730)
La Piazzetta.
Private collection
La Piazzetta.
Private collection
Giovanni Antonio Canal, aka Canaletto
The Redentore church
The Redentore church
Canaletto (Venice 1697-Venice 1768)
Il Canal Grande da Ca’ Foscari, verso Sud
The Grand Canal looking south from Ca’ Foscari to the Carità
c.1726-27
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande da Ca’ Foscari, verso Sud
The Grand Canal looking south from Ca’ Foscari to the Carità
c.1726-27
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (Venice 1697-Venice 1768)
Il Canal Grande dal traghetto del Buso, verso Nord
The Grand Canal looking north-west from near the Rialto
c.1726-7
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande dal traghetto del Buso, verso Nord
The Grand Canal looking north-west from near the Rialto
c.1726-7
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (Venice 1697-Venice 1768)
Il Canal Grande con la Chiesa degli Scalzi sulla destra e San Simeone Piccolo sulla sinistra
The Grand Canal looking west with the Scalzi and S. Simeone Piccolo
c.1726-27
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande con la Chiesa degli Scalzi sulla destra e San Simeone Piccolo sulla sinistra
The Grand Canal looking west with the Scalzi and S. Simeone Piccolo
c.1726-27
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (Venice 1697-Venice 1768)
Canal Grande, San Geremia e l’ingresso di Cannaregio
San Geremia and the entrance to the Cannaregio c.1726-7
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canal Grande, San Geremia e l’ingresso di Cannaregio
San Geremia and the entrance to the Cannaregio c.1726-7
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (Venice 1697-Venice 1768)
Il Canal Grande da Palazzo Loredan-Vendramin-Calergi, sulla destra, verso San Geremia
The Grand Canal looking west from the Palazzo Vendramin-Calergi towards San Geremia
c.1727
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal Grande da Palazzo Loredan-Vendramin-Calergi, sulla destra, verso San Geremia
The Grand Canal looking west from the Palazzo Vendramin-Calergi towards San Geremia
c.1727
Oil on canvas
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Canaletto (Venice 1697-Venice 1768)
Il Canal di Santa Chiara verso Nord
The Canale di Santa Chiara looking north towards the Lagoon
c. 1722-3
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
Il Canal di Santa Chiara verso Nord
The Canale di Santa Chiara looking north towards the Lagoon
c. 1722-3
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
Provenance: Joseph Smith; from whom bought by George III
The Laws of Time 