The Arno River at the Santa Trinita Bridge

Giuseppe Zocchi

El Arno en el puente Santa Trinita

Zocchi, Giuseppe

Fiesole, 1716-1717 - Florencia, 1767

The Arno River at the Santa Trinita Bridge, c. 1741

© Colección Carmen Thyssen-Bornemisza

Carmen Thyssen-Bornemisza Collection on deposit at the Museo Thyssen-Bornemisza

Oil on canvas.

57 x 87,5 cm


Artwork history

  • Arturo Grassi, Florence.

  • Riccardo Bruscoli, Florence.

  • Loriano Bertini, Prato.

  • Thyssen-Bornemisza Collection, Lugano, 1984.

  • Carmen Thyssen-Bornemisza Collection on deposit at the Museo Thyssen-Bornemisza, Madrid.


Firenze e la sua immagine. Cinque secoli de vedutismo, Florence, Forte Belvedere, nº 83, pp. 147, 151.


Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell'apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, nº 12, p. 54.


Del vedutismo a las primeras vanguardias. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Bilbao, Museo de Bellas Artes de Bilbao, nº 8, p. 74.

1997 - 1998

El Viatge a Itàlia. Vedute Italianes del Segle XVIII de la Col·lecció Carmen Thyssen-Bornemisza, Barcelona, Colección Thyssen-Bornemisza. Pedralbes Monastery, p. 35.

1998 - 1999

Masterworks from the Carmen Thyssen-Bornemisza Collection, Tokyo, Tokyo Metropolitan Art Museum; Takaoka, Takaoka Art Museum; Nagoya, Matsuzaka Art Museum; Sendai, Miyagi Museum of Art, nº 3, p. 24.


Aspectos de la tradición paisajística en la Colección Carmen Thyssen-Bornemisza, Málaga, Salas de Exposiciones del Palacio Episcopal, nº 16, pp. 74-76.


De Van Goyen a Constable. Aspectos da tradición do pintoresco na Colección Carmen Thyssen-Bornemisza, Corunna, Museo de Belas Artes da Coruña, nº 16, pp. 78-80.


Landschaften von Brueghel bis Kandinsky. Die Ausstellung zu Ehren des Sammlers Hans Heinrich Baron Thyssen-Bornemisza, Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, nº 34, p. 104.


La ingeniería civil en la pintura, Madrid, Real Academia de Bellas Artes de San Fernando, nº 11, pp. 138-139.

2011 - 2012

Arquitecturas pintadas del Renacimiento al siglo XVIII, Madrid, Museo Thyssen-Bornemisza - Sala de las Alhajas, nº 79, p. 278, illus. p. 281.


A Palace and the City. Florencia, Museo Salvatore Ferragamo. Palazzo Spini Feroni. (not catalog.)

  • -Morassi, Antonio: ”Circa alcune opere sconosciute di Giuseppe Zocchi’‘. In Bolletino del Musei Civici Veneziani. 1962, vol. 7, pp. 7-8.

  • -Firenze e la sua immagine. Cinque secoli de vedutismo. [Exhib. cat. Forte di Belvedere]. Chiarini, M. and Marabottini, A. (ed.). Florence, Marsilio, 1994, nº 83, pp. 146-47, 151, illus. (inverted) [ Sheet by Gregori].

  • -Gregori, Mina: ”La veduta nella prima metà del Settecento: Zocchi e Bellotto’‘. In Gregori, M. and Blasio, S.: Firenze nella pittura e nel disgno dal Trecento al Settecento. Cinisello Balsamo, 1994, pp. 192, 198-199, fig. 251.

  • -Del vedutismo a las primeras vanguardias: obras maestras de la coleccion Carmen Thyssen-Bornemisza. Llorens Serra, Tomàs (ed.). [Exhib. cat. Bilbao, Museo de Bellas Artes de Bilbao]. Madrid, Fundación Colección Thyssen-Bornemisza, 1997, nº 8, p. 74. [Record by Roberto Contini].

  • -Tosi, A.: Inventare la realtà. Giuseppe Zocchi e la Toscana del Settecento. Florence, 1997, pp. 73, 100, note 61.

  • -Vázquez de la Cueva, A. (ed.): La ingeniería civil en la pintura. Madrid, 2000, p. 162, illus.

  • -Contini, Roberto: The Thyssen-Bornemisza Collection. Seventeenth and Eighteenth Century Italian Painting. London, 2002, nº 82, pp. 368-373, illus.

  • -Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 1, p. 184, illus. p. 185 [Sheet by Roberto Contini].

  • -La ingeniería civil en la pintura. [Exhib. cat. Madrid, Sala de la Real Academia de Bellas Artes de San Fernando]. Vázquez de la Cueva, A. (ed.). Madrid, El Viso, 2004, nº 11, pp. 16, 138-139, illus. [Sheet by Ana Vázquez de la Cueva].

  • -Rodríguez, Delfín and Borobia, Mar: Arquitecturas pintadas. Del Renacimiento al siglo XVIII. [Exhib. cat.]. Madrid, Museo Thyssen-Bornemisza – Fundación Caja Madrid, 2011-2012, nº 79, p. 278, illus. p. 281 [Sheet by Mar Borobia].

Expert report

The urban panorama of this Florentine veduta by Zocchi is still recognisable. The Lungarno Guicciardini appears like a highway as it emerges from via de’ Coverelli where an aristocratic carriage suddenly swings round, to the danger of passers-by. Behind, the façade of the magnificent 17th-century Palazzo dei Padri delle Missioni appears in its entirety.

This painting was published by Antonio Morassi who noted its relationship -articularly with regard to the dimensions- with two other paintings, formerly in the possession of Gerini and now with Marco Grassi, showing a view of Florence from outside the gate at San Niccolò and a view of Piazza della Signorie. There is good reason to identify the Thyssen veduta with one of three shown by Count Agnolo Galli Tassi at the exhibition at the Santissima Annunziata in July 1767, shortly after Zocchi’s death on June 22. This “triptych” consisted of the View of the Santa Trinità  Bridge, which almost certainly corresponds to the Thyssen painting, a View of the Pescaia, and a View of Piazza San Firenze. In an engraving which is loosely based on the Thyssen painting, and which is in turn based on a drawing -one of the seventy-seven drawings that were executed for the two series of engravings with views of Florence and its villas, and were published in 1744, all of which are now in the Pierpont Morgan Library in New York -Giotto’s campanile and the top of the cathedral dome with the lantern have been added to the skyline. According to F. M. N. Gabburri, work on engraving Zocchi’s drawings of views of Florence began as early as 1741 or in early 1742, the year that the collector and historian died, which implies a similar date for the present painting.

The compositional and stylistic inspiration of the Venetian vedutismo of Canaletto and Bellotto is obvious here. Zocchi had seen this style at first hand between 1739 and 1741 during his sojourn in Venice, where he had learned the technique of copper-plate engraving in the workshop of Joseph Wagner. Since his youth Zocchi had enjoyed the high esteem of Gabburri, through whom he had been able to see a painting by Canaletto in Florence in the exhibition at the Santissima Annunziata in 1729, particularly due to the good offices of his illustrious correspondent Anton Maria Zanetti the Elder. The circumstance was probably of particular importance to Zocchi himself, who had in the meantime become the protégé of the Marchese Andrea Gerini, in whose house he painted vedute “in the style of the famous Canaletto”, according to Gabburri.

The relationship with the paintings of Belloto -who in his own Florentine veduteactually adopted the angles preferred by Zocchi- and even more with those of Marieschi has been emphasised. This can be seen in the dense hatching which breaks the surface of the water in some of Zocchi’s river vedute, particularly in the one of the “lungarni” with the bridge at Santa Trinità  seen from the Palazzo Ruccellai and in the painting presented here. This is a very rare case, since it is documented by the above-mentioned preparatory drawing in the Pierpont Morgan Library which was used for the present painting and for the engraving by the Florentine Vincenzo Franceschini (published with the other twenty-three vedute of 1744 by Giuseppe Allegrini). The motif also appears in a painting in the private collection of Thomas Patch. Of course, the bridge at Santa Trinita was especially suitable for the city festivals which are one of the important motifs of Florentine vedute as reinvented by Zocchi.

Roberto Contini