Who painted Chiesa et Hospitale de Mendicanti (plate 35)?

Chiesa et Hospitale de Mendicanti (plate 35) was painted by Luca Carlevariis in 1703.

Where can I see Chiesa et Hospitale de Mendicanti (plate 35)?

Chiesa et Hospitale de Mendicanti (plate 35) is held by National Gallery of Art.

What movement is Chiesa et Hospitale de Mendicanti (plate 35)?

Chiesa et Hospitale de Mendicanti (plate 35) is associated with Baroque.

Can I buy a print of Chiesa et Hospitale de Mendicanti (plate 35)?

Museum-quality prints of Chiesa et Hospitale de Mendicanti (plate 35) are available made-to-order from Artifact World Gallery.

Artwork

Chiesa et Hospitale de Mendicanti (plate 35)

Luca Carlevariis , 1703

Chiesa et Hospitale de Mendicanti (plate 35) is an ink print by the Baroque artist Luca Carlevariis. It dates from 1703 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:stamped in ink on verso: 103

About this work

Overview

Luca Carlevariis produced this copperplate etching in 1703, catalogued as plate 35 in his series of Venetian views. The print records a substantial stone church crowned by a high tower, set against a bright, cloud‑dotted sky, with a modest ancillary structure bearing a cross above its entrance.

Subject & Meaning

The composition juxtaposes the imposing ecclesiastical façade with a smaller, cross‑topped building, suggesting the relationship between a major religious institution and its associated charitable facility. The tranquil atmosphere conveyed by the clear sky and subdued lighting hints at a contemplative, everyday urban scene rather than a dramatic narrative.

Technique & Style

Carlevariis employed fine etching lines to render architectural details such as window mullions, cornices, and the play of light and shadow across stone surfaces. The precise rendering of texture and perspective reflects the artist’s systematic approach to documenting Venice’s built environment.

History & Provenance

Created as part of a broader collection of prints illustrating Venice’s architecture, the work was likely intended for collectors interested in topographical records. Surviving copies have appeared in several early‑19th‑century print collections, though the original plate’s whereabouts remain undocumented.

Context

The early eighteenth century saw a surge in printed cityscapes that served both as souvenirs and as visual surveys for scholars. Carlevariis’s series aligns with this trend, offering a measured, almost documentary view of Venetian structures at a time when the Republic’s urban identity was a subject of wide interest.

Legacy

While not as widely reproduced as later vedute, Carlevariis’s etchings provide valuable primary visual evidence of Venice’s architectural layout in the early 1700s, informing both art historical research and heritage conservation efforts.