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Dimensions: 89 by 68 1/2 cm. ; 35 by 27 in.

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Provenance: Edinburgh, Aitken Dott & Son, 12 - 16th November 1923, where it may have been bought by Patrick J. Ford;
Private collection

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Exhibited: Edinburgh, Aitken Dott & Son, 12 - 16th November 1923;
Edinburgh, Aitken Dott & Son, Festival Exhibition, 1952, no. 9529

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Notes: There has been some confusion as to the title of the present work and the particular church in Venice that it depicts. A small sketch for this painting (see Tom Hewlett, Cadell: The Life and Works of A Scottish Colourist 1883-1937 1988, Plate 16, pg. 29) has become known as Santa Maria della Salute and another view of the 18th Century church of Salute is certainly known, entitled Interior Salute, Venice. However an inscription by Cadell on the reverse of the picture offered here, states that this painting (and the related sketch) depicts Santa Maria della Visitazione or The Jesuati as it is locally known. This church is also located in the Dorsoduro area of Venice and is also of eighteenth century classical proportions with a Doric-temple style facade of columns and pediment. Unlike Santa Maria della Salute, the church is not approached from steps sloping down to the canal. The sketch for the painting is dated 1910 and proves that the present work was painted during or soon after Cadell's first trip to Venice.

Cadell's trip to Venice had been financially facilitated and encouraged by his great patron Patrick Ford who sponsored the venture, feeling that the light and surroundings would be inspirational, which indeed they were. Cadell's records note the agreement unequivocably as follows, "Cheque from P. J. Ford Esq.: £150 to go to Venice and paint. He to choose equivalent in pictures on my return." (Tom Hewlitt, Cadell: The Life and Works of A Scottish Colourist 1883-1937 1988, pg. 27)

Whilst in Venice, Cadell used his time industriuosly and painted both in watercolour and oils a startling series of pictures of which The Jesuati is among the most ambitious and impressive. The shimmer of the summer sunlight on water and on marble, the rich Italian colouring of the buildings and the costumes of the passionate Venetians he met there and the grandeur of the architecture, moved Cadell deeply and his work was changed forever. He also managed to capture in his views painted in Venice, the spirit of the city and the joi de vie of its people, and the sense of excitement that Cadell felt for the views which opened up around every corner and on every canal.

Cadell returned to Edinburgh late in 1910 with a wealth of new work which was exhibited at Aitken and Dott in November that year. As part of the agreement between Ford and Cadell, Ford was allowed to choose from the selection before anyone else and among his choices were three pictures depicting Santa Maria della Salute. Two of these were interiors and appear to depict Salute however the exterior scene may be the present work, the confusion of titles dating back to the Aitken and Dott exhibition. Whatever the exact details of the provenance of The Jesuati it is certainly one of Cadell's most important and beautiful paintings from the 1910 trip of which there are few in private ownership.