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Along with collecting vedute, visitors to Venice liked to buy imaginary landscapes known as capriccios. Some works unite architectural elements from different parts of the city, others, like Guardi's, show an arbitrary corner, devoting far more attention to atmosphere and the play of light and colour than to the buildings and people's daily lives. The places he depicted are often unidentifiable, but his works are not intellectual curiosities. They appeal more to emotions, and in them Venice first acquired the romantic charm of decay.
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