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In the early part of the 1760s Guardi produced numerous masterpieces, among them the series of six vedute to which this painting belongs. The composition is based on a preparatory drawing now in the Museum of Fine Arts in Budapest.
The great Gothic church almost overpowers the scene and seems to be trying to fill the surrounding quarter. Guardi depicted famous monuments without resorting to Canaletto's insistent clarity. On the contrary, a continuous vibration seems to run through the air, blurring the outlines.
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