W. G. Constable. Canaletto: Giovanni Antonio Canal, 1697–1768. Oxford, 1962, vol. 1, pl. 11; vol. 2, p. 186, no. 2, notes that the picture was purchased for W. G. Hoffmann's grandfather by Wilhelm Bode; relates it stylistically to a group of four pictures in the Pillow collection, Montreal, painted in 1725 and 1726, observing, however, that "tone and colour indicate that it is some years later in date".
Lionello Puppi in The Complete Paintings of Canaletto. New York, 1968, p. 98, no. 84B.
W. G. Constable. Canaletto: Giovanni Antonio Canal, 1697–1768. 2nd ed. Oxford, 1976, vol. 1, pl. 11, fig. 2; vol. 2, p. 188, no. 2.
André Corboz. Canaletto: una Venezia immaginaria. Milan, 1985, vol. 2, p. 592, no. P97, ill.
Katharine Baetjer in "Recent Acquisitions, A Selection: 1988–1989." Metropolitan Museum of Art Bulletin 47 (Fall 1989), pp. 32–33, ill. (color), notes that it is the first picture of the piazza to depict Andrea Tirali's white geometric pavement, completed in 1723; dates the painting after 1723 and believes, on stylistic grounds, that it was probably executed closer to 1730, pointing out that the "loose, ragged brushwork and the high key are typical of Canaletto's paintings of the 1720s".
Katharine Baetjer and J. G. Links. Canaletto. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 130–31, no. 27, ill. (color), suggest a date in the late 1720s and compare it to a larger and earlier view now in the Museo Thyssen-Bornemisza, Madrid, which shows the piazza only partly paved with stone, and is on that account dated in or about 1723; observe that the windows of the campanile are fewer in number and more widely spaced than they are in reality, and that the flagstaffs are too tall, but add that otherwise the artist took few, if any, liberties with the topography; note that it is not engraved and there is no evidence of a pendant.
Homan Potterton. "New York: Canaletto." Burlington Magazine 132 (January 1990), pp. 63–64, ill.
Mahonri Sharp Young. "Letter from the U.S.A: The Look of Venice." Apollo 131 (February 1990), p. 119, fig. 1 (detail).
Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, p. 262.
Roberto Contini. The Thyssen-Bornemisza Collection: Seventeenth and Eighteenth Century Italian Painting. London, 2002, p. 259, under no. 54, calls it a replica of the version in the collection of the Duke of Bedford.
Nicole Hartje in Blick auf den Canal Grande: Venedig und die Sammlung des Berliner Kaufmanns Sigismund Streit. Exh. cat., Gemäldegalerie, Staatliche Museen zu Berlin. Berlin, 2002, fig. 66, under no. 17, illustrates this picture by mistake for the Fogg version.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 59–61, no. 15, ill. (color), dates it to the late 1720s; lists fifteen additional versions of the composition.
Canaletto Guardi: Les deux maîtres de Venise. Exh. cat., Musée Jacquemart-André. Brussels, 2012, p. 90, under no. 13, dates it 1728.