Another decorative painter was Antonio Canale, generally known as Canaletto (1697-1768), who is well represented in the _View of the Church of Santa Maria della Salute and the Grand Canal_ (No. 1203). The Louvre appears to contain nothing by Bernardo Bellotto (1720-1780), who is sometimes referred to as Canaletto, and is seen to the best advantage at Dresden. Canaletto’s pupil, Francesco Guardi (1712-1793), who was born of Austrian parentage, is the painter of seven Venetian scenes: _After wedding the Adriatic, the Doge embarks at the Lido on the “Bucentaur”_ (No. 1328); _The Doge proceeds to S. Maria della Salute to commemorate the Preservation of Venice from the Plague in 1630_ (No. 1329); _Fête du Jeudi Gras in the Piazzetta_ (No. 1330); _The Procession of Corpus Domini in the Piazza of S. Marco_ (No. 1331); _The Visit of the Doge to the Church of S. Zaccharia on Easter Day_ (No. 1332); _The Doge seated on his Throne in the Sala del Collegio_ (No. 1333); _Coronation of the Doge_ (No. 1334); and a _View of the Church of S. Maria della Salute_ (No. 1335). Guardi’s pupil, François Casanova (1739-1805), a painter of battle-pieces, worked in France; some of his pictures are hung in the French Rooms. With Guardi we close the chapter of Venetian art which, owing to four centuries of high aspiration and magnificent achievement, came to an end later than the art of any other school of painting in Italy. THE PADUAN SCHOOL Far-reaching influences were to be exerted by classical Padua on the art of the neighbouring cities of Northern Italy. Padua was a city of great antiquity, and had been sufficiently powerful and prosperous even in Roman times to excite the cupidity of its enemies. Eventually the Goths and other barbarian hordes had destroyed its monuments of the Roman age; the spirit of antiquity, nevertheless, survived until Giotto came at the very beginning of the fourteenth century to decorate the walls of the Chapel of the Madonna dell’ Arena, which had been founded in 1303 by Enrico Scrovegno on the site of an ancient Roman arena. These very precious frescoes by Giotto, which fortunately are still preserved, revolutionised art, and the movement initiated by him quickened the art-life of this University city. Half a century later, Altichiero Altichieri (fl. 1320-1385) developed his art under the influence of Giotto, and beautified the churches of Padua with frescoes, the figures in which he clothed in fanciful attire. An art movement was now on foot, and the influence of Altichieri, who was later to become the founder of the school of Verona, was to be revealed in the work of his follower Pisanello, the Veronese painter and medallist.