[1] Francisco Morosini, after experiencing the effects of Venice’s political jealousy, was appointed Generalissimo. In 1688, honour was bestowed upon his glorious name. He was then elected doge. The pope sent him a sword and helmet because of his role as Defender of the Faith.
[2] See Guardi’s painting in the Louvre.
[3] See Guardi’s painting in the Louvre that depicts the Corpus Christi procession at Saint Mark’s Square.
[4] The libro d’oro was destroyed in 1797 during the wars of the Republic, but some copies still exist. Like Venice, several other Italian cities had nobility registries.
[5] Apostolo Zeno, born in 1668, was not a noble, in the least, because his grandfather was not registered in the libro d’oro, even though he had illustrious roots. Unable to obtain a post at Saint Mark’s library, he accepted an offer from Emperor Charles VI, who granted him the position of court poet and historian. After twelve years in Vienna, esteemed for his character and talent, he transferred his position to Metastasio and returned to Venice in 1729. He lived there for two more years, among his friends, books and medals, laden with honours, and kept up active correspondence with foreign scholars. He composed sixty-three dramatic works in many different styles. Caldara set many of them to music. Among his operas, Gli Inganni Felice and Lucio Vero were particularly lauded.
[6] Chiari, a comedic poet, originally from Brescia, settled in Venice and unsuccessfully tried his hand at novels and tragedies. Like Goldoni, for whom, at times, he was a lucky rival, he had adopted fourteen-syllable Martellian verse. The former inspired by the works of Terence, the latter endeavoured to stage the works of Plautus; both had their fanatic supporters. The sixty plays written by Chiari, in a style devoid of both conviction and elegance, at least did justice to the fecundity of his imagination.
[7] Goldoni took on the position of Italian tutor once again, this time for Madame Clotilde, who was engaged to the Prince of Piedmont, and for Madame Elisabeth. He ended his career by writing three volumes of memoirs that were to serve as his life story and the history of his theatrical career. He died on January 8, 1793, saddened and impoverished by the Revolution.
[8] Venice’s glass industry was very old. In 630, Saint Benedict called Venetian workers to England to decorate the windows of Yarmouth Monastery. Shops were set up on Murano Island and were closely monitored by the Council of Ten. During the eighteenth century, this art enjoyed new found prosperity, thanks to the patriotism of Briati, who had worked as a porter for three years in a Bohemian crystal shop so he could learn the secrets of fabrication. His perseverance was rewarded by success, as he obtained permission to rebuild his furnaces within the city limits of Venice. He died on January 17, 1772.
[9] In his Memoirs, Part I, Chapter XII.
[10] “The flowers of Venice and the Venetian paintings, monuments, views and costumes represented on two hundred plates, engraved by the best artists in Venice”.
[11] “The grand theatre of Venetian painters and perspectives”.
[12] In London, one can see a Canaletto painting that depicts the Colosseum. This painting probably goes back to that period of the painter’s life.
[13] Joseph Smith, who resided in Venice as representative at the English Consulate for a great many years, would, truthfully speaking, merit a special study that would undoubtedly be of interest. His activities in Venice as an intermediary between the Venetian artists of his time and the great painting enthusiasts in England were considerable. G.Tiepolo, F. Guardi, Pietro Longhi and so many others owned their successes abroad to him. One could find him everywhere. He was anxiously attentive, full of savoir-faire, a fine connoisseur, very well-versed in business matters and never neglected what was in his best interests. Memoirs and different writings from the first half of the eighteenth century do not fail to point out his name and role in Venice, where his energies were greatly stretched. One is also led to believe that he was quite the willing reveller.
[14] When Henry III was passing though Venice, he viewed the magnificent regattas that were paraded in his honour from the Foscari palace windows. He wanted to offer prizes for the best of the show.
[15] The Lido is the strip of land that protects Venice from high tides. A village surrounded by gardens has replaced the groves of which the Venetian nobility were so fond. It is there that young men came to practise their shooting. Today this lower island, in all its melancholy solitude, still evokes the memory of two great poets.
[16] At the Hermitage Museum, opposite Count Gergi’s Reception, is the truly remarkable painting The Doge’s Marriage to the Sea.
[17] Visentini made engravings of these paintings in 1742. They are part of a collection of thirty-four plates, entitled Prospectus Magni Canalis Venetiarum, addito Certa-mi, exaulico et Nundinis Venetis.
[18] These magnificent paintings in Maria della Salute came from another wing that was demolished.
[19] This herb market is the subject of a beautiful painting that can be found at the Munich museum.
[20] Brustolini engraved The Doge’s Pilgrimage to San Giorgio Maggiore, in the style of Moretti, and Saint Martha’s Vigil and The Pilgrimage to the Church of the Holy Redeemer, in the style of Antonio Canal.
[21] See Memoirs and Anecdotes About Painting in England by Horace Walpole, which signalled Canaletto’s arrival in London in 1748. On the one hand, he mentions the sale of two beautiful views of Venice by Antonio da Canal executed in London during 1771, auctioned off for 525 pounds, which was equivalent to more than 13,000 francs. Horace Walpole himself had acquired a very beautiful Venetian canvas by Canaletto that can still be found in a private English gallery. He likewise owned an admirable painting that depicted the interior of King’s College in Cambridge. No-one knows where that work is now. Walpole actually commissioned this work from Antonio da Canal although it has been wrongfully attributed to Bellotto.
[22] Jean Colombini, a painter of portraits, historical scenes and perspectives, was Sebastiano Ricci’s student. Only the year of his death is known for certain (1774).
[23] Marieschi was born in Venice in 1711 and died in 1773.
[24] Antonio Visentini was born in 1689 and died in 1782.
[25] Antonio Visentini was born in 1689 and died in 1782.