His second visit to England was paid in 1751. He was received with open arms by the great world, and invited to the houses of the nobility in town and country. The English were delighted with his taste and with the mastery with which he painted architectural scenes, and in spite of advancing years he produced a number of compositions, which commanded high prices. The Garden of Vauxhall, the Rotunda at Ranelagh, Whitehall, Northumberland House, Eton College, were some of the subjects which attracted him, and the treatment of which was signalised by his calm and perfect balance. He made use of the camera ottica, which is in principal identical with the camera oscura. Lanzi says he amended its defects and taught its proper use, but it must be confessed that in the careful perspective of some of his scenes, its traces seem to haunt us and to convey a certain cold regularity. Canale was a marvellous engraver. Mantegna, Bellini, and Titian had placed engraving on a very high level in the Venetian School, and though at a later date it became too elaborate, Tiepolo and his son brought it back to simplicity. Canale aided them, and his _eaux-fortes_, of which he has left about thirty, are filled with light and breadth of treatment, and he is particularly happy in his brilliant, transparent water. The high prices Canale obtained for his pictures in his lifetime led to the usual imitations. He was surrounded by painters whose whole ambition was limited to copying him. Among these were Marieschi, Visentini, Colombini, besides others now forgotten. More than fifty of his finest works were bought by Smith for George III. and fill a room at Windsor. He was made a member of the Academy at Dresden, and Bruhl, the Prime Minister of the Elector, obtained from him twenty-one works which now adorn the gallery there. Canale died in Venice, where he had lived nearly all his life, and where his gondola-studio was a familiar object in the Piazzetta, at the Lido, or anchored in the long canals.