The tradition of painting diverse ceremonial events in the urban space of Venice can be followed from the early Renaissance painters Vittore Carpaccio and Giovanni Bellini, and later on through the works of the Baroque Venetian veduta painter Luca Carlevaris. However, Canaletto’s views were marked by their topographical precision and painterly expressiveness, and in the early phase the influence of Netherlandish painting can be identified. The phenomenon of the Grand Tour also assisted Canaletto’s great popularity of the time, when Venice was visited by collectors, antiquarians and connoisseurs from the whole of Europe, particularly from Britain. Because of the great demand and popularity, Canaletto frequently did versions of a given rather popular motif. The Piazzetta and Doge’s Palace from San Marco canal clearly arose in the circle of the great master, as seen by the manner of framing, the kind of canvas and use of colours. However the somewhat freer brushstroke and certain zones of the painting that have remained only adumbrated enjoin caution in attributing the work to Canaletto himself. It can be concluded that the painting was probably created in his workshop at the most vigorous period of his creative work.