Who painted Facciata della Chiesa del'Ospitaletto (plate 33)?

Facciata della Chiesa del'Ospitaletto (plate 33) was painted by Luca Carlevariis in 1703.

Where can I see Facciata della Chiesa del'Ospitaletto (plate 33)?

Facciata della Chiesa del'Ospitaletto (plate 33) is held by National Gallery of Art.

What movement is Facciata della Chiesa del'Ospitaletto (plate 33)?

Facciata della Chiesa del'Ospitaletto (plate 33) is associated with Baroque.

Artwork

Facciata della Chiesa del'Ospitaletto (plate 33)

Luca Carlevariis , 1703

Facciata della Chiesa del'Ospitaletto (plate 33) 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.

About this work

Overview

Luca Carlevariis produced an etching titled *Facciata della Chiesa del’Ospitaletto* in 1703. The print, catalogued as plate 33 in a series of Venetian church illustrations, depicts the stone façade of a modest ecclesiastical building, rendered in fine line work that emphasizes architectural depth and texture.

Subject & Meaning

The image records the front of a small stone church, characterized by a rhythm of tall columns, rounded arches, and twin cupolas that crown the roofline. Light and shadow are employed to convey the solidity of the masonry, suggesting both the permanence of the structure and the devotional atmosphere of early‑18th‑century Venice.

Technique & Style

Carlevariis employed traditional copper‑plate etching, incising lines that capture the fissures, joints, and surface irregularities of the stone. The tonal gradations arise from varied acid bites, allowing subtle shading that models the building’s three‑dimensional form without resorting to heavy cross‑hatching.

History & Provenance

Created as part of a printed volume documenting Venetian churches, the etching was likely circulated among scholars and patrons interested in architectural heritage. Copies of the work have been retained in several institutional collections, including the National Gallery of Art in Washington, where Carlevariis’s broader series is held.

Context

In the early 1700s, Venice experienced a surge of interest in cataloguing its religious architecture, driven by both antiquarian curiosity and civic pride. Carlevariis’s prints contributed to this effort, providing a visual record that complemented textual descriptions and served as reference material for architects, historians, and travelers.