15 October 2023

‘Sparkle and sunshine’
on an afternoon with
Canaletto’s Venice in
the Wallace Collection

The Grand Canal seen from the Rialto Bridge … Venice today can be recognised in the paintings by Canaletto (Photograph: Patrick Comerford; click on images for full-screen viewing)

Patrick Comerford

This year’s recipient of the Nobel Prize in Literature, the Norwegian author and playwright Jon Fosse, is also one of the great living Christian writers. Writing on what is a good painting or a good work of art, he says: ‘What the picture is in reality is this spirit, that’s what a picture really is, neither matter nor soul but both parts at the same time and together they make up what I think of as spirit, and maybe that’s why my good paintings, yes, all good paintings, have something to do with what I, what Christians, call the Holy Spirit.’

Charlotte and I recently spent an afternoon visiting the Wallace Collection, a museum in Hertford House in Manchester Square, once the London townhouse of the branch of the Seymour family that held the title of Marquess of Hertford.

The Wallace Collection is named after Sir Richard Wallace (1818-1890), who built the extensive collection, along with the Marquesses of Hertford, in the 18th and 19th centuries. The collection includes fine and decorative arts from the 15th to the 19th centuries, many French 18th-century paintings, furniture, arms and armour, porcelain and Old Master paintings displayed in 25 galleries.

Richard Seymour-Conway (1800-1870), 4th Marquess of Hertford, left the house and his private collection to his illegitimate son, Sir Richard Wallace, whose widow Julie Amelie Charlotte Castelnau then bequeathed the entire collection to the nation.

Wallace was said to be Britain’s 24th richest man and the 73rd largest landowner at the time he died. His houses and estates included Sudbourne Hall, Suffolk, Hertford House, London, vast estates in Lisburn, Co Antrim, and a house and a château in Paris. He also owned one of the greatest private art collections in the world, part of which now forms the Wallace Collection.

The Old Master paintings in the Wallace Collection are some of the most prominent in the world, and date from the 14th to the mid-19th centuries. The highlights include Dutch and Flemish paintings of the 17th century, 18th- and 19th-century French paintings, and works by English, Italian and Spanish artists. The collection includes five Rembrandts, nine works by Rubens, four Van Dycks, eight Canalettos, and works by Guardi, François Bouchers, Fragonard, Murillo, Tenier, Titian, Poussin, Velázquez and Watteaus.

But I was particularly interested in the collection of Canaletto paintings of Venice in the Wallace Collection. I have been at other exhibitions bringing together works by Canaletto, including one in the National Gallery of Ireland in Dublin in 2018. But this collection in London took me by surprise.

Giovanni Antonio Canal (1697-1768), or Canaletto, is the best-known and most prolific of the painters of views of Venice. His paintings are familiar to many today through book covers, CD covers, decorative items and all manner of packaging.

His main market was the young English aristocrats who visited Venice in the 18th century, as part of the Grand Tour. In an age before ‘selfies’, reels, postcards or holiday snapshots and trinkets, these rich young aristocrats who wanted visual reminders of their Grand Tour to take home as souvenirs.

Canaletto’s views were essentially topographically accurate, but he used artistic licence to make his compositions more appealing to tourists. He idealised Venice to create prospects that sometimes surpassed reality and included as many tourist sites as possible.

Two large views are among Canaletto’s finest paintings. Both represent the Bacino di San Marco – Venice’s inner harbour of Saint Mark’s – from opposite vantage points. They were acquired by Francis Seymour-Conway (1718-1794), 1st Marquess of Hertford and one of the founders of the Wallace Collection. He was briefly British Ambassador to Paris twice (1755 and again in 1763-1765), and for eight months Lord-Lieutenant of Ireland (1765-1766). In his younger years, he travelled to Italy in 1738-1739 when Canaletto was at the height of his career.

The 28 Venetian paintings in the Wallace Collection were been fully restored during a major conservation project by the Hamilton Kerr Institute at the University of Cambridge. The Venetian Views Conservation Project, launched in 2016, undertook the most up-to-date technical and scholarly research into each of these paintings, and cleaned and restored each picture to its original splendour. The removal of 1940s varnish revealed subtle blues in the skies and reflections in the water as more vivid.

The eight works definitively by Canaletto in the Wallace Collection are:

The Bacino di San Marco from San Giorgio Maggiore by Canaletto (Photograph: Patrick Comerford, 2023)

1, The Bacino di San Marco from San Giorgio Maggiore (ca 1735-1744), 129.2 x 188.9 cm, P497:

This is one of a pair of unusually large views, depicting the Bacino di San Marco from opposing vantage points. This painting, which complements P499, appears to be an exact view of the Bacino di San Marco with the church of Santa Maria della Salute, from the steps of the Church of San Giorgio Maggiore. It is, however, a clever composite image of several viewpoints within the courtyard of that church, and includes several campanili or bell towers of churches that cannot be seen from that vantage point.

The figures in the foreground represent different levels of Venetian society; from the seated beggar on the left, the merchants in the centre, and the priest and lawyer engaged in conversation on the right. There is an assortment of sea vessels in the picture, including a burchiello or passenger boat, being towed in the middle ground.

This work exemplifies Canaletto’s attention to composition. The triangle of the foreground terrace – framed by the temporarily-docked burchiello with the detail of passengers embarking – is matched by the boat in the middle of the painting. Its two masts are in turn replicated in the vertical soar of the Campanile di San Marco and the dome of Santa Maria della Salute. The boats are gently balanced in the lagoon and the whole composition is again framed, on the left hand side, by the profile of a vessel with its sail blowing towards the city.

The bell tower of the church of Santa Maria della Carità is visible behind the golden globe of the Dogana at the centre left. The tower collapsed in March 1744, so the two pictures can be dated ca 1735-1744.

It is an attractive, clearly identifiable view of a type calculated to appeal to the Grand Tourist, with picturesque elements of local colour reinforcing the idea of Venice as an exciting cosmopolitan centre. It was acquired by the 1st Marquess of Hertford, who went on the Grand Tour and was in Rome in 1738 and Genoa in 1739).

The Bacino di San Marco from the Canale della Giudecca Carità by Canaletto (Photograph: Patrick Comerford, 2023)

2, The Bacino di San Marco from the Canale della Giudecca Carità, (ca 1735-1744), oil on canvas, 130.2 x 190.8 cm, P499:

The two paintings, P497 and P499, form a pair of two large views that show the Bacino di San Marco from opposite vantage points; Canaletto often depicted famous places in Venice from opposite views. P499 looks towards the Church of San Giorgio Maggiore, in the distance on the right, with the Riva degli Schiavoni in the background.

The Dogana da Mar, the customs house, frames the composition on the left. Its low tower is crowned by a bronze sculpture of two male nudes supporting a gilded globe, topped by an allegorical figure of Fortune holding a sail reflecting Venice’s maritime trade.

Both P497 and P499 were acquired by the 1st Marquess of Hertford at an unknown date, probably as a reminder of his Grand Tour in 1738-1739. =

The Grand Canal from the Palazzo Flangini to San Marcuola by Canaletto (Photograph: Patrick Comerford, 2023)

3, The Grand Canal from the Palazzo Flangini to San Marcuola (ca 1740-1750), oil on canvas, 46.5 x 77.5 cm, P506:

This painting by Canaletto depicts the upper reaches of the Grand Canal, looking east, with the Palazzo Flangini on the extreme left. On the opposite side of the canal is the Riva di Biasio with the Palazzo Zen and the Palazzo Bembo.

The view was popular and exists in a number of versions by Canaletto and his studio: the prime version, engraved by Visentini in 1742, is in the Getty Museum. This painting is of almost the same dimensions as the Getty painting, although the boats and figures are different.

The Canale di Santa Chiara by Canaletto (Photograph: Patrick Comerford, 2023)

4, The Canale di Santa Chiara (ca 1740-1750), oil on canvas, 58.7 x 93 cm, P507:

This painting forms a pair with P511. It shows the Canale di Santa Chiara looking towards the south-east with the wall of the convent of Corpus Domini on the left, which was destroyed in 1861 to make way for the railway station. On the opposite side, towards the right edge of the canvas, a large first-floor balcony and an heraldic cartouche mark out the house of the British Secretary Resident.

Both views survive in numerous versions and were engraved with minor variations by Visentini in 1742. At first glance, the view of the Canale di Santa Chiara may seem a rather modest composition, yet the subtle tonal modulations and draughtsmanship of the painting of the buildings are of high quality.

The Doge’s Palace and the Riva degli Schiavoni by Canaletto (Photograph: Patrick Comerford, 2023)

5, The Doge’s Palace and the Riva degli Schiavoni (ca 1740-1745), oil on canvas, 58.2 x 93.5 cm, P509:

The promenade or Riva degli Schiavoni depicts a view that is still familiar today, with gondolas bobbing on the water before the Doge’s Palace, one of the best-known buildings in Venice, on the left.

The columns of San Todaro and of the Lion of Saint Mark stand on the Piazzetta in front of the Palace, with the Ponte della Paglia and the Prison beyond. This view, along with its pendant (P516), were very popular with Canaletto’s patrons. They were engraved in 1742 by Visentini, and at least five other sets are known.

The Grand Canal from the Palazzo Foscari to the Carità by Canaletto (Photograph: Patrick Comerford, 2023)

6, The Grand Canal from the Palazzo Foscari to the Carità (ca 1740-1750), oil on canvas, 46.2 x 77.3 cm, P510:

This painting looks south down the Grand Canal towards the gabled façade and bell-tower of the church of Santa Maria della Carità in the distance.

When the picture, together with P506, appeared in the sale of Sir Thomas Bernard at Christie’s in 1855, Lord Hertford described them as ‘very pretty and appear to me to be in a very good state. They are neither of them very good views of Venice but nevertheless I must say I should rather like to have one of them … – no.70 [now P510]. The other I have no fancy for … I shd. Think 250 to 300 at most for no. 70, certainly the best of the two, wd. be a good price.’

Lord Hertford was keen to conclude a successful purchase, and reminded his agent Samuel Mawson with his customary urgency, ‘They are sold tomorrow Saturday’, despite the fact that it was Mawson who had initiated discussion of the sale in the first place.

The Grand Canal from the Palazzo Dolfin-Manin to the Rialto Bridge by Canaletto (Photograph: Patrick Comerford, 2023)

7, The Grand Canal from the Palazzo Dolfin-Manin to the Rialto Bridge (ca 1740-1750), 58.5 x 93 cm , P511:

This is the second picture in the pair with P507 depicts a popular view of the Grand Canal looking north to the Rialto Bridge, with, on the left, the Fondamenta del Vin, and on the right, the Palazzo Dolfin-Manin. This area was the commercial heart of Venice at the time. Both views survive in numerous versions.

The Molo with Santa Maria della Salute from the Piazetta by Canaletto (Photograph: Patrick Comerford, 2023)

8, The Molo with Santa Maria della Salute from the Piazetta (ca 1740-1745), 57.7 x 93.5 cm, P516:

This view, framed by the Doge’s Palace on the right, looks across the Piazzetta, past the columns of San Todaro and the library, towards the mouth of the Grand Canal with the church of Santa Maria della Salute and the Dogana or Customs House on the opposite bank. The Giudecca with the church of the Redentore are just visible on the left.

Together with its pendant (P509), this view was very popular with Canaletto’s patrons and was engraved in 1742 by Visentini for wider dissemination. At least five other sets are known.

The collection also holds a number of paintings of Venice from Canaletto’s contemporaries, Antonio Visentini (1688-1782) and Francesco Guardi (1712-1793), and from the studio or school of Canaletto.

Many of these views by Canaletto would have been familiar to visitors to Venice who followed in the 19th century, from Byron and Shelley to Turner and John Ruskin. I was taken aback by how many were familiar to from my visits to Venice in recent years. It sometimes seems Venice has remained unchanged for almost 300 years.

Ruskin was not too appreciative of Canaletto. In his criticism of Canaletto’s ripples, Ruskin points out how his ignorance of ‘optical laws’ represents an ‘inexcusable violation of the truth. Ruskin deplored Canaletto’s ‘servile and mindless imitation,’ comparing his output to the mechanical reproduction of nature offered by the newly popular daguerreotype. When Canaletto paints water, Ruskin suggested, the seas ‘hiss with shame.’ Canaletto’s contribution to art, he exclaimed, is ‘a numbness and darkness more without hope than the Grave itself.’

On the other hand, Jan Morris writes in her classic Venice: ‘And sometimes, in the Venetian spring, you awake to a Canaletto day, when the whole city is alive with sparkle and sunshine, and the sky is an ineffable baby-blue. An air of flags and freedom pervades Venice on such a morning, and all feels light, spacious, carefree, crystalline, as though the decorators of the city had mixed their paints in champagne, and the masons laced their mortar with lavender.’

The Wallace Collection is housed in Hertford House, Manchester Square, the former London townhouse of the Seymour family (Photograph: Patrick Comerford, 2023)

Daily prayers in Ordinary Time
with USPG: (140) 15 October 2023,
Week of Prayer for World Peace (1)

The Week of Prayer for World Peace begins today, Sunday 15 October 2023

Patrick Comerford

We are in Ordinary Time in the Church Calendar, and today is the Nineteenth Sunday after Trinity (Trinity XIX, 15 October 2023). Later this morning, I hope to be in Saint Mary and Saint Giles Church, Stony Stratford, for the Parish Eucharist.

But, before today begins, I am taking some time early this morning for prayer and reflection.

The Week of Prayer for World Peace begins today, and so my reflections each morning this week are gathered around this theme in these ways:

1, A reflection on the Week of Prayer for World Peace ;

2, the Gospel reading of the day in the Church of England lectionary;

3, a prayer from the USPG prayer diary.

The Week of Prayer for World Peace began with ‘A Call to Prayer for World Peace’ signed by faith leaders in 1974

A Week of Prayer for World Peace:

‘Where people are praying for peace the cause of peace is strengthened by their very act of prayer, for they are themselves becoming immersed in the spirit of peace.’ wrote George Macleod, founder of the Iona Community.

He was one of a number of faith leaders who in 1974 signed ‘A Call to Prayer for World Peace.’ They wrote, ‘Believing that God is calling us to pray with new purpose and deeper understanding for peace and justice among all people, we invite our fellow believers of all faiths to join in a Week of Prayer for World Peace.’

The call went on to say, ‘Patience will need to be an essential feature of this united act of prayer so that we may all not only learn from the past errors but also be open to fresh insights which the unprecedented modern situation demands.’

Sadly, these words are still pertinent today, in the third decade of the 21st century.

A Prayer Resource for individual and corporate use during the Week has remained a key feature of WPWP. It is presented for use during the Week and throughout the year. The organisers are convinced that there is only one humanity praying to one supreme Creator, with whatever different opinions we may have on what that may be.

They recognise that interfaith partnership does not in itself imply agreement. WPWP invites all people to join in praying for peace on our shared earth under one sky.

The things we agree upon are many and precious. What we disagree on is precious too. We stand alongside all who pray for peace with us as partners and friends.

The overall theme this year is ‘Praying with hope in a troubled world’. The founders described the world of 49 years ago as one ‘in turmoil and increasing violence’. Today that is still true, but we continue to ‘pray with hope’ for the peace that our world is so lacking. We pray with hope not just for a week but for the year.

The annual interfaith gathering of prayer and peace will again this year be a ‘virtual’ one. The organisers are using Zoom and hope that people will be able to join us wherever they are. It is being held today (Sunday 15 October 2023), from 3:30 to 4:30 pm (London time), with music, prayers, storytelling and the presentation of the 2023 Wilson/Hinkes Peace Award. This is an opportunity to join together to pray and witness for peace.

‘Go therefore into the man streets, and invite everyone you find to the … banquet’ (Matthew 22: 9) … preparing for the banquet (Photograph: Patrick Comerford, 2023)

Matthew 22: 1-14 (NRSVA):

22 Once more Jesus spoke to them in parables, saying: 2 ‘The kingdom of heaven may be compared to a king who gave a wedding banquet for his son. 3 He sent his slaves to call those who had been invited to the wedding banquet, but they would not come. 4 Again he sent other slaves, saying, “Tell those who have been invited: Look, I have prepared my dinner, my oxen and my fat calves have been slaughtered, and everything is ready; come to the wedding banquet.” 5 But they made light of it and went away, one to his farm, another to his business, 6 while the rest seized his slaves, maltreated them, and killed them. 7 The king was enraged. He sent his troops, destroyed those murderers, and burned their city. 8 Then he said to his slaves, “The wedding is ready, but those invited were not worthy. 9 Go therefore into the main streets, and invite everyone you find to the wedding banquet.” 10 Those slaves went out into the streets and gathered all whom they found, both good and bad; so the wedding hall was filled with guests.

11 ‘But when the king came in to see the guests, he noticed a man there who was not wearing a wedding robe, 12 and he said to him, “Friend, how did you get in here without a wedding robe?” And he was speechless. 13 Then the king said to the attendants, “Bind him hand and foot, and throw him into the outer darkness, where there will be weeping and gnashing of teeth.” 14 For many are called, but few are chosen.’

‘Go therefore into the main streets, and invite everyone you find to the wedding banquet’ (Matthew 22: 9) … tables on a street corner in Rethymnon (Photograph: Patrick Comerford)

The International Prayer For Peace:

Lead me from death to life, from falsehood to truth
Lead me from despair to hope, from fear to trust
Lead me from hate to love, from war to peace
Let peace fill our hearts, our world, our universe

Today’s Prayers: A Week of Prayer for World Peace:

Day 1, Leaders: Praying that those in power act for the benefit of all:

For those whose decisions and political ambition can and will affect the cause of peace: Grant them wisdom and courage to do what is right, through Christ Jesus, whose peace transcends our human comprehension. Amen. – Baptist Peace Fellowship

We adore those whose every act of worship is alive with the eternal law of life. Those who are in sight of Mazda Ahura. These are the best and noblest mortals and are the truest leaders of Mankind. – Zoroastrian

Lord we ask that decision makers hear Your voice … Church leaders as they support and comfort people. And Lord we ask for wise actions from global leaders, who have the power not only to start wars, but to stop them … – Extract, ‘A prayer for Ukraine’, World Vision

Gracious God, we pray for all persons suffering from war.
Grant wisdom to world leaders in advancing efforts to world peace; may they not be compromised by self-interest and blind indifference. – Catholic Health Association
O Allah, the Most Merciful and Wise,
We bow before You with hearts and eyes.
In Your infinite grace, we seek guidance today.
For leaders who hold power, we humbly pray.
Grant wisdom to those in authority,
to lead with justice and sincerity.
Illuminate their hearts with compassion’s light,
to govern with fairness, both day and night. Amen. – Islamic

‘Illuminate their hearts with compassion’s light’ (Photograph: Patrick Comerford, 2023)

Today’s Prayers: USPG Prayer Diary:

The theme this week in ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Helpline to women in need.’ This theme is introduced today:

In 2014, the Church in North India (CNI) launched a women’s helpline but the CNI’s Delhi Brotherhood Society (DBS) had been supporting women experiencing abuse for over 20 years prior to establishing this. Since it was created, there has been an increase in the number of cases of abuse and harassment being reported to and resolved by the local council, making legal aid and police protection more accessible.

The helpline now plays a key role in the DBS’s aims to reduce gender-based violence and provide emotional, medical, legal and financial support to women. Running alongside the helpline is a range of activities on the ground. The Women’s Helpline Service holds community meetings, awareness-raising events and celebrations, and provides help with rehabilitation and resettlement, property rights and legal advocacy. Outreach workers and community volunteers trained by the church visit women in person to discuss their cases in more detail. The women - and where necessary, their children and families - are given legal and financial assistance and any other help they might need.

The CNI and the DBS realise that society as a whole needs to be more vigilant in tackling gender-based violence. Towards this end, the church regularly holds meetings and events to raise awareness of gender injustice.

The USPG Prayer Diary today (15 October 2023, Trinity XIX) invites us to pray in these words:

‘No one has greater love than this, to lay down one’s life for one’s friends’.
Beloved God,
May we treat one another as true equals.
Let us love each other as your Son taught us to.

The Collect:

O God, forasmuch as without you
we are not able to please you;
mercifully grant that your Holy Spirit
may in all things direct and rule our hearts;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post Communion Prayer:

Holy and blessed God,
you have fed us with the body and blood of your Son
and filled us with your Holy Spirit:
may we honour you,
not only with our lips
but in lives dedicated to the service
of Jesus Christ our Lord.

Yesterday’s Reflection

Continued Tomorrow

Waiting for the banquet … a table on the beach in Platanias, near Rethymnon (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org