Campo Santo Stefano, here depicted at midday, is in the principal sestiere of San Marco, one of the six divisions of Venice, near the Ponte dell'Accademia. The viewpoint looks south from the church of Santo Stefano towards the baroque inland facade of the Palazzo Loredans, in contrast to its more familiar gothic facade overlooking the Rio S. Vitale. Barely visible just beyond it is part of the facade of San Vitale, itself, rebuilt in 1696 by Andrea Tirali. No longer a church, it is now used as a concert venue.
“”Self-styled as painter, architect, and engraver, Visentini enjoyed a long career in Venice where he was connected to the Academia and to the artistic and publishing circle centred around Consul Joseph Smith. Visentini's etchings are distinguished in the confidence and authority of their perspectival projection and etched line. Visentini's buildings seldom sag and never “”sink”” under their own weight into the water of the canals as they occasionally might in the work of Carlevaris and Mariechi. Canaletto's compositions are quite various and are refreshingly dramatic in the contrast between the large foreground buildings and the smaller ones in the receding perspective.
These views were crucial to forming the image of Venice in the mind of its visitors”” (Millard).
Engraving after Canaletto, 405 x 555 mm.