By Octave Uzanne

Giovanni Antonio Canal, sometimes called Canaletto (1697-1768) used to be initiated to portray and viewpoint via his father who was once himself a painter. whereas artwork enthusiasts of his time introduced again from their travels his work because the proofs in their travels in Italy, Canaletto grew to become the real incarnation of the Serenissima. via his means of combining assorted views, he was once a real precursor as he stuffed his canvases with a variety of info to guage the distances and used the optical chamber within the framing of his portray. due to the precision and the tones of his shades, the work of Canaletto supply today's viewer the main attractive panoramas and undergo witness to 1 of an important figures in artwork historical past.

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Qxp 11/04/2008 4:38 PM Page 48 25. The Piazzetta, with the Library and Campanile, looking West, c. 1735. 4 cm. The Royal Collection, London. qxp 11/04/2008 4:38 PM Page 49 26. View of Venice, Piazza San Marco and Piazzetta, c. 1740. 3 x 102 cm. Wadsworth Atheneum Museum of Art, Hartford. qxp 11/04/2008 4:38 PM Page 50 No less famous was Rosalba Carriera, nicknamed the “Queen of Pastels”, who was celebrated when she travelled to France. She sold her portraits for thirty zecchinos and Charles de Brosses offered her twenty-five gold louis for a Magdalene no larger than his hand and a mere copy of Correggio.

In 630, Saint Benedict called Venetian workers to England to decorate the windows of Yarmouth Monastery. Shops were set up on Murano Island and were closely monitored by the Council of Ten. During the eighteenth century, this art enjoyed new found prosperity, thanks to the patriotism 34. Venice: the Interior of San Marco by Day, of Briati, who had worked as a porter for three years in a Bohemian crystal shop so he could learn the secrets c. 1755-1756. of fabrication. 5 cm. The Royal Collection, London.

On the other hand, there were also many improvised, openair theatres, operated almost continuously. To build two stages into a wall, some boards were the only expenses. Sometimes the platform was roofed with a lightweight cover. A single, painted canvas served as the scenery. Its dimensions closely resembled those of marionette theatres. Before a curious crowd, Canaletto, Marieschi and Tiepolo mimed in these makeshift theatres constructed near bell towers or other public places. Among the most important stages, three were especially reserved for plays.

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