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From some of Canaletto's exact architectural drawings the Venice of his day could be reconstructed almost stone by stone. Before leaving the Museo Civico let me warn the reader that it is by no means easy of access except in a gondola.
The eating-room, in the French mode, should be ad hoc: unfurnished, but with a buffet, the table, necessary chairs, one or two of Canaletto's etchings, and a tile fire-place for the winter.
The eating-room, in the French mode, should be ad hoc: unfurnished, but with a buffet, the table, necessary chairs, one or two of Canaletto's etchings, and a tile fire-place for the winter.
One of the most interesting apartments was a long corridor, hung with paintings and garnished along the sides with objects of art and virtu. Here C. and I renewed a dispute which had for some time been pending, in respect to Canaletto's paintings.
An historian must be judged not by the number of slips he has made in names or dates, but by the general conformity of his representation with the object. Canaletto painted pictures of Venice in which there was not a palace out of drawing, nor a brick out of place. Yet not all Canaletto's Venetian pictures would give a stranger much idea of the atmosphere of Venice.
The noise of approaching feet gave a fresh impulse to her own, and she moved towards him. But he was evidently accustomed to these interruptions, and worked on steadily without turning his head. As the other footsteps passed her she was emboldened to take a position behind him and glance at his work. It was an architectural study of one of Canaletto's palaces.
No. 494 at Hertford House, a glittering view of the Dogana, is perhaps Guardi's masterpiece in England; No. 135 in the National Gallery, Canaletto's. Pietro Longhi was born in Venice in 1702, five years after Hogarth was born in London. He died in 1762, two years before Hogarth in Chiswick. I mention the English painter because Longhi is often referred to as the Venetian Hogarth.
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