See also:

• FRANCESCO
• FRANCESCO, 210

FRANCESCO See also:

• FRANCESCO GUARDI (1712-1793)

GUARDI (1712-1793)  , Venetian painter, was a 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 of Canaletto, and followed his See also:

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

style so closely that his pictures are very frequently attributed to his 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 . Nevertheless, the diversity, when once perceived, is sufficiently marked—Canaletto being more See also:

• FIRM

firm, solid, distinct, well-grounded, and on the whole the higher master, while See also:

• GUARDI, FRANCESCO (1712-1793)

Guardi is noticeable for spirited 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, sparkling See also:

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

colour and picturesquely sketched figures—in these respects being fully equal to Canaletto . Guardi sometimes coloured Canaletto's designs . He had extraordinary facility, three or four days being enough for producing an entire See also:

• WORK

work . The number of his performances is large in proportion to this facility 'and to the love of gain which characterized him . Many of his See also:

• WORKS

works are to be found in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and seven in the Louvre .