Fig. I. Antonio Visentini, etching of the painting. Plate, m% x 16% in. Fig. 2. Francesco Guardi, Santa Maria Zobenigo. Oil on canvas, 19% x 33 Vs in. (27.4 x 42-7 em). The Metropolitan Museum of Art, New York, The (sox 84 em). Private collection Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949 (49.45) Fig. 3. Luca Carlevarijs, Santa Maria Zobenigo. Etching, plate, 8 Yz x Fig. 4· Domenico Lovisa, Campo Santa Maria Zobenigo. Etching, n Yz in. (20.8 x 29.2 em). The Metropolitan Museum of Art, New plate, 14% x 19% in. (36.5 x so em) York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1957 (57.618) This view is one of the eight scenes from the Harvey series that NOTES were etched by Visentini (seep. 61). No doubt the print (fig. 1) served as a model for some of the repetitions of this subject by r.J. G. Links, A Supplement to W. G. Constable's Canaletto: Giovanni Antonio Canal, 1697-1768 (London, 1998), p. 31, pl. 267. Canaletto's assistants. It was also copied in oil by Francesco Guardi 2. Antonio Morassi, "Francesco Guardi as a Pupil of Canaletto," Connoisseur (fig. 2). 152 (March 1963), pp. 151-52; Francesca del Torre, in Francesco Guardi. There also are etchings of this scene by Luca Carlevarijs Vedute, capricci,feste, exh. cat., Fondazione Giorgio Cini, Venice (Milan, 1993), p. 98 no. 26. (1663-1730) and Domenico Lovisa (ca. 1690-ca. 1750), published in 3.]. G. Links, "Secrets of Venetian Topography," Apollo 90 (September 1969), 1703 and 1730, respectively. The Carlevarijs (fig. 3) shows the facade p. 223. See also under cat. 8. 4. Luca Carlevarijs, Le fabriche, e vedute di Venetia (Venice, 1703), pl. 15, of the church parallel to the picture plane; the Lovisa (fig. 4) shows "Chiesa diS. Maria Zobenicho." Domenico Lovisa, flgran Teatro di it at the same angle as the Canaletto and includes the campo to the Venezia; ovvero, Raccolta delle principali vedute e pitture che in essa si con­ tengono (Venice, 1720 ), pl. 10. The etchings are reproduced by Andre left. 4 Indeed, Canaletto may have been inspired by Lovisa' s etching Corboz, Canaletto. Una Venezia immaginaria (Milan, 1985), vol. 1, p. 199, when he composed his painting. EF figs. 216, 217. 66 .