34https://emuseum.cornell.edu/internal/media/dispatcher/68131/fullAl Dolo (At Dolo)ca. 1740–1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/799/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68130/fullAle Porte del Dolo (At the Dolo Locks)ca. 1740–46[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/798/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68207/fullThe Bishop's Tombca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/1202/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68872/fullA Bishop's Tomb with a View of a Townca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/4548/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68134/fullFantastic View of Paduaca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/802/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/69336/fullFrontispiece, Views of Veniceca. 1741[Antonio Canaletto]Antonio CanalettoEtching on laid paperAntonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva (Views, some taken on site and others imagined by Antonio Canal and made in perspective by the same), published after June 6, 1744 cat. nos. 30–39 Frontispiece ca. 1744 Etching Plate: 11 3/4 x 17 1/8 inches (29.8 x 43.5 cm) Sheet: 16 3/8 x 20 5/8 inches (41.6 x 52.4 cm) P. & G. 1 first state, Montecuccoli degli Erri 1, first editorial state of four (printed 1752–1754/55) Membership Purchase Fund 69.081 Printshttps://emuseum.cornell.edu/objects/7932/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/70497/fullLandscape with Dungeon and Two Columns in Ruin[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/28709/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68211/fullLandscape with Ruinsca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/1207/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68203/fullThe Left Half of the Fantastic View of Venice—The House with the Inscription MDCCXLI AC 1741[Antonio Canaletto]Antonio CanalettoEtching on laid paperAntonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 The Left Half of the Fantastic View of Venice—The House with the Inscription MDCCXLI A.C. 1741 Etching Plate (partial): 11 7/8 x 8 9/16 inches (30.2 x 21.7 cm) Sheet: 14 3/8 x 10 1/8 inches (36.5 x 25.7 cm) P. & G. 12a only state; Montecuccoli degli Erri 12, only editorial state (printed 1752–59) Bequest of William P. Chapman, Jr., Class of 1895 57.157Printshttps://emuseum.cornell.edu/objects/1200/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68137/fullLa Libreria, Venice (The Library, Venice)ca. 1740–46[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/804/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68205/fullThe Little Monumentca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/1201/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/69353/fullLe Marché sur le Mole [Market on the Mole]ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperAntonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 The Market on the Molo ca. 1740–46 Etching Plate: 5 5/8 x 8 1/4 inches (14.3 x 20.1 cm) P. & G. 21 Montecuccoli degli Erri 28, first editorial state of two (printed 1772 or 1778) Membership Purchase Fund 69.128d Along with his many vedute, Canaletto painted and etched a number of imaginary views, or capricci. In this series of four plates printed on the same sheet, he combines the two genres in a way that is almost convincing. Venice did not exist in the period of the Western Roman Empire; hence, it contains no Roman ruins. Yet, in this “view” of San Giacomo di Rialto, Canaletto invents a Roman past for his city by placing three columns and a statue, apparent survivals of an imposing Roman temple, on the square in front of an accurately portrayed Venetian church of the eighteenth century. Likewise, an Egyptian obelisk of the type seen in Roman piazze, surmounted with a papal orb and cross, peeks over the wall of the otherwise Venetian scene in The Terrace. Were these attempts to link the glories of La Serenissima with those of ancient Rome, statements of the relation between invention and topographical realism in the art of the vedutista, or just a bit of visual humor? In most of Canaletto’s vedute, human figures and activities are clearly secondary to the representation of the physical city. In his etching of The Market at Dolo, however, the dominance is reversed, and the focus is on the market as a beehive of human activity. Appropriately, the point of view is slightly lower than in most of Canaletto’s views, just a little above eye level, and the figures are clustered much closer to the picture plane. The only structures (save for one of the two columns of the piazzetta, barely incorporated on the far right) are in the far distance, across the Bacino from the crowd gathered on the Molo. Stuart M. BluminPrintshttps://emuseum.cornell.edu/objects/7976/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68539/fullMestreca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/3125/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68983/fullPaysage Alpestre avec Trois Pontsca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/6580/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68550/fullPaysage avec una femme puisante (Landscape with a Woman Drawing Water)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/3631/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68549/fullPaysage avec un Donjon et deux Piliers en Ruinsca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/3630/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/69388/fullPaysage avec une Statue Équestre (Landscape with Equestrian Statue)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/8317/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68871/fullLa Pelerin en Prière (Pilgrim at Prayer)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/4547/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68138/fullLa Piera del Bando, Venice (The Doges' Palace)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/805/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68538/fullLe Porte Del Dolo [The Lock at Dolo]ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/34005/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68135/full[Portico with Lantern]ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/520/rdfLe Porto del Dolo[Antonio Canaletto]Antonio CanalettoPrintshttps://emuseum.cornell.edu/objects/3632/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68599/fullPrà della Valle, Paduaca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/18128/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68136/fullLe Preson, Venice (The Prison, Venice)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/803/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/69393/fullLe Procuratie Nuove e S. Ziminian V., The Procuratie Nuove on the Piazza S. Marco and San Geminianoca. 1740–1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/8589/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68752/fullThe Right Half of the Fantastic View of Venice—The House with the Porch with Six Columns 1741[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/5349/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68132/fullS. Giustina in Prà della Vale, Paduaca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/800/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/69341/fullLa Terrasse (The Terrace)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperAntonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 The Terrace ca. 1740–46 Etching Plate: 5 5/8 x 8 1/4 inches P. & G. 18; Montecuccoli degli Erri 19, first editorial state of two (printed 1772 or 1778) Membership Purchase Fund 69.128a Along with his many vedute, Canaletto painted and etched a number of imaginary views, or capricci. In this series of four plates printed on the same sheet, he combines the two genres in a way that is almost convincing. Venice did not exist in the period of the Western Roman Empire; hence, it contains no Roman ruins. Yet, in this “view” of San Giacomo di Rialto, Canaletto invents a Roman past for his city by placing three columns and a statue, apparent survivals of an imposing Roman temple, on the square in front of an accurately portrayed Venetian church of the eighteenth century. Likewise, an Egyptian obelisk of the type seen in Roman piazze, surmounted with a papal orb and cross, peeks over the wall of the otherwise Venetian scene in The Terrace. Were these attempts to link the glories of La Serenissima with those of ancient Rome, statements of the relation between invention and topographical realism in the art of the vedutista, or just a bit of visual humor? In most of Canaletto’s vedute, human figures and activities are clearly secondary to the representation of the physical city. In his etching of The Market at Dolo, however, the dominance is reversed, and the focus is on the market as a beehive of human activity. Appropriately, the point of view is slightly lower than in most of Canaletto’s views, just a little above eye level, and the figures are clustered much closer to the picture plane. The only structures (save for one of the two columns of the piazzetta, barely incorporated on the far right) are in the far distance, across the Bacino from the crowd gathered on the Molo. Stuart M. BluminPrintshttps://emuseum.cornell.edu/objects/7974/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68133/fullLa Torre di Malghera (The Tower of Malghera)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/801/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68210/fullVarious Pieces of Sculpture (one of three fragments of: View of a town with the tomb of a bishop)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtchingPrintshttps://emuseum.cornell.edu/objects/1204/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68175/fullView of a Town on a River Bank (On the Brenta Canal)ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/31037/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/69345/fullLa Villa au de lá d'une riviére [The Market at Dolo]ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperAntonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 The Market at Dolo ca. 1740–46 Etching Plate: 5 5/8 x 8 1/4 inches (14.3 x 20.1 cm) P. & G. 19; Montecuccoli degli Erri 20, first editorial state of two (printed 1772 or 1778) Membership Purchase Fund 69.128b Along with his many vedute, Canaletto painted and etched a number of imaginary views, or capricci. In this series of four plates printed on the same sheet, he combines the two genres in a way that is almost convincing. Venice did not exist in the period of the Western Roman Empire; hence, it contains no Roman ruins. Yet, in this “view” of San Giacomo di Rialto, Canaletto invents a Roman past for his city by placing three columns and a statue, apparent survivals of an imposing Roman temple, on the square in front of an accurately portrayed Venetian church of the eighteenth century. Likewise, an Egyptian obelisk of the type seen in Roman piazze, surmounted with a papal orb and cross, peeks over the wall of the otherwise Venetian scene in The Terrace. Were these attempts to link the glories of La Serenissima with those of ancient Rome, statements of the relation between invention and topographical realism in the art of the vedutista, or just a bit of visual humor? In most of Canaletto’s vedute, human figures and activities are clearly secondary to the representation of the physical city. In his etching of The Market at Dolo, however, the dominance is reversed, and the focus is on the market as a beehive of human activity. Appropriately, the point of view is slightly lower than in most of Canaletto’s views, just a little above eye level, and the figures are clustered much closer to the picture plane. The only structures (save for one of the two columns of the piazzetta, barely incorporated on the far right) are in the far distance, across the Bacino from the crowd gathered on the Molo. Stuart M. BluminPrintshttps://emuseum.cornell.edu/objects/7975/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/69349/fullVue Fantastique de San Giacomo di Rialto [Fantastic View of San Giacomo di Rialto]ca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperAntonio Canaletto Venice 1697–1768 Venice Plates from Vedute altre prese da i luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva, published after June 6, 1744 cat. nos. 30–39 Fantastic View of San Giacomo di Rialto ca. 1740–46 Etching Plate: 5 5/8 x 8 1/4 inches (14.3 x 20.1 cm) P. & G. 20 Montecuccoli degli Erri 27, first editorial state of two (printed 1772 or 1778) Membership Purchase Fund 69.128c Along with his many vedute, Canaletto painted and etched a number of imaginary views, or capricci. In this series of four plates printed on the same sheet, he combines the two genres in a way that is almost convincing. Venice did not exist in the period of the Western Roman Empire; hence, it contains no Roman ruins. Yet, in this “view” of San Giacomo di Rialto, Canaletto invents a Roman past for his city by placing three columns and a statue, apparent survivals of an imposing Roman temple, on the square in front of an accurately portrayed Venetian church of the eighteenth century. Likewise, an Egyptian obelisk of the type seen in Roman piazze, surmounted with a papal orb and cross, peeks over the wall of the otherwise Venetian scene in The Terrace. Were these attempts to link the glories of La Serenissima with those of ancient Rome, statements of the relation between invention and topographical realism in the art of the vedutista, or just a bit of visual humor? In most of Canaletto’s vedute, human figures and activities are clearly secondary to the representation of the physical city. In his etching of The Market at Dolo, however, the dominance is reversed, and the focus is on the market as a beehive of human activity. Appropriately, the point of view is slightly lower than in most of Canaletto’s views, just a little above eye level, and the figures are clustered much closer to the picture plane. The only structures (save for one of the two columns of the piazzetta, barely incorporated on the far right) are in the far distance, across the Bacino from the crowd gathered on the Molo. Stuart M. BluminPrintshttps://emuseum.cornell.edu/objects/31149/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/68209/fullA Wagon Passing over a Bridgeca. 1740 - 1746[Antonio Canaletto]Antonio CanalettoEtching on laid paperPrintshttps://emuseum.cornell.edu/objects/1203/rdf