In 1746 George Vertue, the great chronicler of the London art world of his day, recorded in his notebook: 'Latter end of May, came to London from Venice the Famous Painter of Views Cannalletti ... of Venice. the Multitude of his works done abroad for English noblemen & Gentlemen has procurd him great reputation & his great merrit & excellence in that way, he is much esteemed and no doubt but what Views and works He doth here, will give the same satisfaction - tho' many persons already have so many of his paintings -' (op. cit., p.130). In many ways, a visit to England was the natural step for Canaletto to take. His almost exclusively English clientele was, according to Vertue (ibid., p.132), reluctant to travel on the continent during the War of the Austrian Succession and his long-standing business relationships with Owen MacSwinny and Consul Smith ensured him of introductions to suitable patrons. Vertue also records that an influential factor was the persuasion of Jacopo Amigoni, who had spent ten years in England (1729-39) and 'acquainted him with his success here, and also of the prospects he might make of Views of the Thames at London' (ibid., p.133). Indeed there was a tradition of Venetian artists finding success in England, Giovanni Antonio Pellegrini in 1708-13, Sebastiano and Marco Ricci in 1711/12-16, Antonio Bellucci in 1716-22 and - most significantly for Canaletto - the Modenese Antonio Joli in 1744-8. Canaletto was to remain in England until 1755 or 1756, returning to Venice for some months between September/November 1750 and July 1751 and probably also in 1752/3