See also:

• CANALE (or CANALETTO), ANTONIO (1697-1768)

CANALE (or CANALETTO), See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

ANTONIO (1697-1768)  , Venetian painter, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the i8th of See also:

• OCTOBER

October 1697, was educated under his See also:

• FATHER

father See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard, a See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene-painter of See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, and for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time followed his father's See also:

• LINE

line of See also:

• ART

art . In 1719 he went to See also:

• ROME
• ROME (Roma)

Rome, where he employed himself chiefly in delineating See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient ruins, and particularly studied effects of See also:

• LIGHT

light and shade, in which he became an See also:

• ADEPT (if used as a substantive pronounced adept, if as an adjective adept; from Lat. adeptus, one who has Attained)

adept . He was the first painter who made See also:

• PRACTICAL

practical use of the See also:

• CAMERA (a Latin adaptation of Gr. Kagapa, an arched chamber)

camera lucida . On returning See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home he devoted his See also:

• POWERS, HIRAM (1805-1873)

powers to views in his native See also:

• CITY (through Fr. cite, from Lat. civitas)

city, which he painted with a clear and See also:

• FIRM

firm See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch and the most facile mastery of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour in a deep See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone, introducing See also:

• GROUPS
• GROUPS, THEORY

groups of figures with much effect . In his latter days he resided some time in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . His pictures, in their particular range, still remain unrivalled fore their magnificent See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective . The See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery; See also:

• LONDON

London, has five pictures by him, notably the " View on the See also:

• GRAND

Grand See also:

• CANAL
• CANAL (from Lat. canalis, " channel " and " kennel " being doublets of the word)

Canal, Venice," and Median!-cal See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power . the " Regatta on the Grand Canal." He died on the loth of See also:

• AUGUST (originally Sextilis)

August 1768 . Bellotto (commonly named Bernardo), who is also sometimes called CANALETTO (1724–1780), was his See also:

• NEPHEW

nephew and See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, and painted with deceptive resemblance to the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of the more celebrated See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master .