OIL PAINTING: The Bridge for the Feast of the Madonna della Salute, 1720
By comparison to other paintings of the subject concentrating on the massive procession to the Redentore, Carlevaris included a much smaller number of figures, shown crossing the bridge to the Salute either alone or in small groups. Most of the people on the bridge are returning to the city, and the gondola in the foreground is moving in that direction as well. Instead of the ceremonial journey it is the wooden bridge, an ephemeral topographical detail in the Venetian cityscape, that is the true focus of the composition.
Carlevaris' s painting marks a new phase in the representation of historical and festive events. In contrast to his predecessors the master emphasized neither the procession nor its goal, but rather the cityscape itself, in which the figures play a subordinate role.