Campo Santi Giovanni e Paolo

A painting of this subject with the same lighting by Canaletto was derived from this print. The lighting is illogical for two reasons: the sun cannot have cast shadows on the south side of the church any more than it could have shone simultaneously on the fa�ade of the Scuola di San Marco, barely visible on the far left. The print Lovisa published is modelled on a print by Silvestre. Canaletto was not the first painter to avail himself of this composition; at least a half century earlier the Netherlander Abraham Storck — who is not known to have ever visited Venice — based a painting on Silvestre’s print; here, however, Santi Giovanni e Paolo has been miraculously transported to the shores of the Mediterranean.