_London._
(_Photo, Hanfstaengl._)]

PRINCIPAL WORKS

Bergamo. Lochis: At the Gaming Table; Taking Coffee.
Baglioni: The Festival of the Padrona.
Dresden. Portrait of a Lady.
Hampton Court. Three genre-pictures.
London. Visit to a Circus; Visit to a Fortune-Teller; Portrait.
Mond Collection: Card party; Portrait.
Venice. Academy: Six genre-paintings.
Correr Museum: Eleven paintings of Venetian life; Portrait of
Goldoni.
Palazzo Grassi: Frescoes; Scenes of fashionable life.
Quirini-Stampalia: Eight paintings; Portraits.

CHAPTER XXXI

CANALE

While Piazetta and Tiepolo were proving themselves the inheritors of the
great school of decorators, Venice herself was finding her chroniclers,
and a school of landscape arose, of which Canale was the foremost
member. Giovanni Antonio Canale was born in Venice in 1697, the same
year as Tiepolo. His father earned his living at the profession,
lucrative enough just then, of scene-painting, and Antonio learned to
handle his brush, working at his side. In 1719 he went off to seek his
fortune in Rome, and though he was obliged to help out his resources by
his early trade, he was most concerned in the study of architecture,
ancient and modern. Rome spoke to him through the eye, by the
picturesque masses of stonework, the warm harmonious tones of classic
remains and the effects of light upon them. He painted almost entirely
out-of-doors, and has left many examples drawn from the ruins. His
success in Rome was not remarkable, and he was still a very young man
when he retraced his steps. On regaining his native town, he realised
for the first time the beauty of its canals and palaces, and he never
again wavered in his allegiance.

Two rivals were already in the field, Luca Carlevaris, whose works were
freely bought by the rich Venetians, and Marco Ricci, the figures in
whose views of Venice were often touched in by his uncle, Sebastiano;
but Canale's growing fame soon dethroned them, "i cacciati del nido," as
he said, using Dante's expression. In a generation full of caprice,
delighting in sensational developments, Canale was methodical to a
fault, and worked steadily, calmly producing every detail of Venetian
landscape with untiring application and almost monotonous tranquillity.
He lived in the midst of a band of painters who adored travel.
Sebastiano Ricci was always on the move